Search results

Tourism, transnational romance and anxieties of authenticity
Mariana Johnson

and auteur models to analyse the relationship between tourism and representation in Spanish-Cuban co-productions. It expands the purview of what typically falls under the heading of Spanish cinema by looking at recent Spanish films set in Cuba, or that represent Cuban immigrants in Spain, as well as films by Cuban directors that are supported by Spanish funding. Such a contrapuntal approach is useful in understanding

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.

Abstract only
Immigration and music in Cosas que dejé en La Habana
Isabel Santaolalla

diasporic communities in European cinema see Göktürk ( 2010 ) and Berghahn ( 2010 ). For a book-length study of this topic in Spain see Inmaculada Gordillo’s edited book on Spanish-Cuban co-productions (2007). Outside film, shorter studies on the way in which mainstream Spanish pop music of the 1980s and 1990s engaged with the emergent phenomenon of migration include Marí ( 2007 ) and, especially

in Screening songs in Hispanic and Lusophone cinema