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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.

Almodóvar’s, Amenábar’s and de la Iglesia’s generic routes in the US market
Vicente Rodriguez Ortega

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. By scrutinising the marketing strategies deployed by the successive US distributors of three of the most economically and critically successful Spanish directors of the last decade and a half – Pedro

in Contemporary Spanish cinema and genre
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Film studies and the digital
Andrew Dix

digital developments in film through many contexts and across several nations. McKernan, Brian, Digital Cinema: The Revolution in Cinematography, Postproduction, and Distribution (New York: McGraw-Hill, 2005). A handy, accessible source of technical information that also includes interviews with such pioneers of digital filmmaking as George Lucas and Robert Rodriguez. Shaw, Jeffrey and Peter Weibel (eds) (2003), Future Cinema: The Cinematic Imaginary after Film (Boston: MIT Press). Compendious exploration of post-celluloid filmmaking

in Beginning film studies (second edition)
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Grafting space and human relations in the trans-cinema of Claire Denis
James S. Williams

rich cinematic imaginary which she intensively mines.9 Indeed, the particular way Subor’s features are highlighted at the beginning appears to present him as a personification of cinema itself. But the film also revolves around a clear source text: Herman Melville’s novella Billy Budd, Sailor (unfinished and posthumously published in 1924), as well as some late Melville poems like ‘The Night March’, echoed in the sequence where the legionnaires carry Sentain aloft as if in a procession. Finally, the film is sustained musically by the orchestral drama of Benjamin

in Space and being in contemporary French cinema
Harvey O’Brien

. Though he is keen to express himself as an artist, the medium has let him down. He is not able to attain the ecstatic, cinesexual plane of the cinematic imaginary because he is so busy actively deconstructing it in what is an overly literal, and ultimately ham-fisted, way. The genre-blending, in particular, is ineffective, as, although in theory the use of the investigative

in Clive Barker
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Music, myth and realism in the films of Rio de Janeiro
David Treece

Muses to remain among the living, enchanting everyone forever with its melodies. If the spirit of Orpheus was believed to guide the hands of all musicians who sing of lost love, we could say that Brazil’s contemporary cinematic imaginary has been animated by a comparable faith in the spirit of music-making as a force for social regeneration and reconciliation. As a disinterested creative impulse, and in

in Screening songs in Hispanic and Lusophone cinema
Jane Chin Davidson

economy of intellectual practices, the alienation effect functions to acknowledge one’s own desire in the act of interpretation. It is precisely the erotic narrative in Chang’s conceptual defamiliarization that is meant to imagine something entirely different in contrast to the intellectual aura of the great literary critic who changed the contemporary understanding of mechanical reproduction. Through Chang’s cinematic imaginary, the bodily intertwining of the eminent film theorist and the ultimate film fetish functions as an embodied metaphor for the translibidinal co

in Staging art and Chineseness
Anne Ring Petersen

-called ‘political turn’ in contemporary art since the 1990s, it is not surprising that a number of artists have committed themselves to spotlighting the geopolitical issue of the securitisation of borders and its recurrent fatal consequences for unwanted immigrants. Thus, the second part of this chapter focuses on this issue as part of the overall phenomenon of international migration. It examines how the enforcement of the European borders surfaces in the artistic-cinematic imaginary in an analysis of Isaac Julien’s video installation Western Union: Small Boats, and its theme of

in Migration into art
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Suspect identities
Julia Dobson

’, serves as an effective reminder of the very real problems of the local community, but this documenting of the human and social consequences of economic deprivation serves as a counter to Gabrielle Rose’s escapism as she rejects their offer of ‘human kindness’ in favour of romance. Settings which appear to have solely realist motivations are drawn from the cinematic imaginary, and the run-down clubs

in Negotiating the auteur