the horror genre and contemporary Spanish cinema
Andrew Willis

has been given to the industrial contexts of horror film production in Spain during this period, and how these impact upon the actual products that find their way on to screens both within and outside Spain. In this chapter I want to address this by considering a particular production unit, the Barcelona-based Fantastic Factory, which was established in 1999, as part of the increasingly important

in Contemporary Spanish cinema and genre

A generation ago, Spain was emerging from a nearly forty-year dictatorship. This book analyses the significant changes in the aesthetics, production and reception of Spanish cinema and genre from 1990 to the present. It brings together European and North American scholars to establish a critical dialogue on the topic of contemporary Spanish cinema and genre while providing multiple perspectives on the concepts of national cinemas and genre theory. The book addresses a particular production unit, the Barcelona-based Fantastic Factory as part of the increasingly important Filmax group of companies, with the explicit aim of making genre films that would have an appeal beyond the Spanish market. It explores the genrification of the Almodovar brand in the US media and cinematic imaginary as a point of departure to tackle how the concepts of genre, authorship and Spanish cinema itself acquire different meanings when transposed into a foreign film market. Melodrama and political thriller films have been a narrative and representational form tied to the imagining of the nation. The book also examines some of the aspects of Carícies that distinguish it from Pons's other entries in his Minimalist Trilogy. It looks briefly at the ways in which the letter acts as one of the central melodramatic gestures in Isabel Coixet's films. After an analysis of the Spanish musical from the 1990s until today, the book discusses Spanish immigration films and some Spanish-Cuban co-productions on tourism and transnational romance.

Spanish horror film in the marketplace
Antonio Lázaro-Reboll

. Darkness The Spanish studio Filmax under its genre division Fantastic Factory produced Jaume Balagueró’s second feature film Darkness in the wake of his critically acclaimed and award-winning debut Los sin nombre/The Nameless (1999) in international horror circuits. With a teaser trailer, the promise of an international cast and an English-language product to attract investors

in Contemporary Spanish cinema and genre
Abstract only
Emma Robertson

-scale chocolate production and consumption. 8 Set in France, home of the chocolatiers, it is far removed from the fantastical factory setting of Willy Wonka and the mass production methods of British firms. It is thus able to revel still more deeply in the sensuousness and luxuriousness attributed to ‘fine’ chocolate. Vianne Rocher, the heroine, is an enigmatic single mother who moves to a small French town and sets up a

in Chocolate, women and empire