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While several critical works on Spanish cinema have centred on the cultural, social and industrial significance of stars, there has been relatively little critical scholarship on what stars are paid to do: act. Bringing together a range of scholars that attend carefully to the performances, acting styles, and historical influences of Spanish film, Performance and Spanish Film is the first book to place the process of Spanish acting centre stage. Comprising fifteen original essays, the book casts light on the manifold meanings, methods and influences of Spanish screen performance, from the silent era to the present day. It situates the development of Spanish screen acting in both its national and global contexts, tracing acting techniques that are largely indigenous to Spain, as well as unpicking the ways in which Spanish performance has frequently been shaped by international influences and forces. As the volume ultimately demonstrates, acting can serve as a powerful site of meaning through which broader questions around Spanish film practices, culture and society can be explored.

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Rob Stone

There is no such thing as Spanish film noir. At least there is none to speak of until after the death of General Franco in 1975. During the forty years of the fascist dictatorship film noir was a bête noire , unable to show its face for fear of reprisals on its perpetrators. How could there have been moral ambiguity in a society in which education and entertainment were dominated by rigid Catholic

in European film noir
Eva Woods Peiró

1 Acting for the camera in Spanish film magazines of the 1920s and 1930s Eva Woods Peiró Strolling through the pages of Spanish cinema magazines of the 1920s and 1930s, the reader tours endless photographic galleries of actors, stars and objects. Poised for consumption, these choreographed images kaleidoscopically transmit what seems to be the entirety of the cinematic apparatus (industry, image, content, stars, spectators). Portable and spreadable, film magazines succinctly rendered the act of wandering through the visual panorama of city streets lined by shop

in Performance and Spanish film

Álex de la Iglesia, initially championed by Pedro Almodóvar, and at one time the enfant terrible of Spanish film, still makes film critics nervous. The director of some of the most important films of the Post-Franco era – Acción mutante, El día de la bestia, Muertos de risa – de la Iglesia receives here a full-length study of his work. Breaking away from the pious tradition of acclaiming art-house auteurs, the book tackles a new sort of beast: the popular auteur, who brings the provocation of the avant-garde to popular genres such as horror and comedy. It brings together Anglo-American film theory, an exploration of the legal and economic history of Spanish audio-visual culture, and a comprehensive knowledge of Spanish cultural forms and traditions (esperpento, sainete costumbrista) with a detailed textual analysis of all of de la Iglesia's seven feature films.

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This book aims to provide an overview of the history and development of film noir and neo-noir in five major European cinemas, France, Britain, Germany, Spain and Italy, written by leading authorities in their respective fields. It contains a bibliography and extensive filmography. The book describes the distinctiveness of film noir or neo-noir within its respective national cinema at particular moments, but also discusses its interaction with American film noir and neo-noir. It commences with a reflection on the significant similarities and differences that emerge in these accounts of the various European film noirs, and on the nature of this dialogue, which suggests the need to understand film noir as a transnational cultural phenomenon. The problems of defining film noir and the reasons why it has almost always been regarded solely as an American form are discussed. Because British film noir had never received critical recognition, Andrew Spicer argues that British neo-noir had to reinvent itself anew, with little, if any, explicit continuity with its predecessors. The book also explores the changes in the French polar after 1968: the paranoia of the political thriller and the violence of the postmodern and naturalistic thriller. That new noir sensibility is different enough, and dark enough, from what preceded it, for us to call it 'hyper-noir'. British neo-noirs are highly intertextual and allusive, both thematically and visually. The book also discusses German neo-noir, Spanish film noir and neo-noir, and the Italian film noir.

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Barry Jordan
Rikki Morgan-Tamosunas

art-house hits’ (Smith 1994: 138), referring to films by Medem, Bigas Luna, Alex de la Iglesia, etc., which achieved foreign release and critical acclaim in the 1990s. Also, Fernando Trueba’s Oscar success with Belle Epoque (1992) in 1993 provided a welcome boost for Spanish films in overseas markets and confirmed that Spanish directors and the Spanish industry could (occasionally) compete with Hollywood. However, other

in Contemporary Spanish cinema
The politics of performance in the Spanish sophisticated comedy of the 1940s
Stuart Green

Hispanidad’ (2003: 41) in her analysis of national cinema,6 she falls back on explanations of escapism and the mismatch between the comedy genre and the noble poverty of the peasant –​answers she implicitly grants are insufficient –​before moving on to focus on other genres whose links with questions of nation and national identity are more easily perceived (the españolada and the military film). 60 Performance and Spanish film In this chapter, I show that scholarly engagement with the issue of screen performance –​encumbered in film studies as a whole by the

in Performance and Spanish film
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Tom Whittaker

quinqui is marked by its dislocation, one that is both spatial and sonic. Except for in the cinema, where teenage audiences from the suburbs shout, jeer and break into sudden applause as the delinquent actor outwits the police. The voices of the audience resonate and vibrate through the auditorium, fusing into those of the delinquent on screen. Juvenile delinquency, uneven development and Spanish film The word ‘quinqui’ derives from ‘quinquillero’ or ‘quincallero’, a derogatory term that was originally used to describe ‘mercheros

in The Spanish quinqui film
Revindicating Spanish actors and acting in and through Cine de barrio
Duncan Wheeler

. Towards a genealogy of Cine de barrio In July 1995, Cine de barrio, hosted and directed by José Manuel Parada, was aired for the first time on TVE2.2 Viewing figures were better than anticipated and the programme was promoted to TVE1 in October of the same year. The films selected for inclusion did not encompass the canonical auteur-​films that emerged from the Nuevo Cine Español [New Spanish Cinema] but were, rather, examples of the so-​called Viejo Cine 144 Performance and Spanish film Español [Old Spanish Cinema], commercial comedies and light dramas that

in Performance and Spanish film
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Ann Davies

1 Introduction The purpose of this study is essentially twofold, although one element will appear more immediate than the other. It is in the first place to consider the work of a contemporary Spanish film director, Daniel Calparsoro, and to do so arguably in auteurist terms. The reasons for doing so are theorised more explicitly below, although anyone picking up this book might assume the approach to be already implied by taking a single director as a focus of study. That this study does not take auteurism for granted is suggested by the second element of its

in Daniel Calparsoro