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Editors: Lisa Shaw and Rob Stone

This book explains how the famous Spanish singer and actress Imperio Argentina starred in a film, Carmen, la de Triana, that was made in Berlin under the auspices of the Third Reich. It examines the Transition between the dictatorship and democratic eras in four films featuring performances in which transgendered protagonists lip-synch to songs from the Hispanic diaspora. The book considers how punk music and its attendant sensibility and cultural practices were profoundly influential in Spain throughout the early years of democracy. It focuses on one of the most financially successful Spanish films of the last ten years: El otro lado de la cama. The book moves to how punk music and its attendant sensibility and cultural practices were profoundly influential in Spain throughout the early years of democracy. This was when the Spanish version of British punk's irreverence, playful and disrespectful attitude toward art, bad taste, and corrosive humour nevertheless failed to capitalise on the political overtones of the original movement. The book lays emphasis on music as an indicator of the attitudes, social hierarchies and demarcations of youth but marks a shift in focus towards flamenco. Continuing the interwoven themes of rootlessness and evolution, it examines the diegetic and non-diegetic contribution of songs to representative films of the so-called 'immigration cinema' genre within Spanish cinema. Next come the exploration of transnationalism, migration and hybridity by exploring the role of Afro-Cuban song, music and dance in two films from Mexican cinema's golden age: Salón Méxicoand Víctimas del pecado.

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Ana María Sánchez-Arce

(including problematic stereotypes) to critique the persistence of patriarchal structures in contemporary Spain and repeated intergenerational sexual violence as symptomatic of the persistence of Franco’s ideological regime well into the democratic era. In this chapter, I argue that Volver ’s comic genre and pop aesthetic disguise its serious consideration of difficult issues, much as his earlier and later comedies do. The overt comedy, much of it relating to eschatological bodily fluids and noises such as the mother’s smell and farts, performs an act of amelioration

in The cinema of Pedro Almodóvar
Open Access (free)
Mark Garnett and Philip Lynch

the mass democratic era; the party polled almost 6 million votes fewer than at the 1992 general election and at 31.5 per cent its share of the vote was the lowest since 1832. The Conservatives’ reputation for party unity, sound economic management and governing competence had been shattered by the travails of the Major government – notably divisions on Europe, sterling’s exit from the Exchange Rate Mechanism (ERM) and ‘sleaze’. Whereas the Conservatives appeared politically and intellectually exhausted, New Labour was reinvigorated and successfully pitched its

in The Conservatives in Crisis
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Ann Davies

’s collaboration with Najwa Nimri, so that the move to a primarily male ensemble in Guerreros may have arisen in part at least because of the end of the couple’s marriage and Nimri’s development of her acting portfolio further afield. With Ausentes, however, the director continues once more his preference for female protagonists. While, as Jordan and MorganTamosunas observe (1998: 100–1), the cinema of Spain’s democratic era has favoured the use of stories centred on women, in the past ten years no director from the upsurge of 1995 has matched Calparsoro in a filmography that

in Daniel Calparsoro
Or, Here we go round the upas tree
W. J. McCormack

and exposed. The figure of Blue Beard, metamorphosed as a demented Master of Fox Hounds for the democratic era, rides through these essays, adding a gruesome imagery to the trenchant arguments and exhortive rhythms. 0‘Grady, for all his reading of Marx, was an arch conservative in whose mordant view the labouring classes might yet produce statesmen and prime ministers – yes, as

in Dissolute characters
Open Access (free)
George Campbell Gosling

hospital treatment. This might be expected to open up a new democratic era of in the social life of the hospital, but it did not. Instead, the separation of the classes and the provision of different services to each on a different basis became an internal event. The old divisions and distinctions were not so much brushed aside as brought within the hospital. Working-class and middle-class patients may have been more often treated within the same hospital, but it

in Payment and philanthropy in British healthcare, 1918–48
Barry Jordan and Rikki Morgan-Tamosunas

fully liberated Spain in the democratic era also begs a number questions. What for some indicated the introduction of progressive attitudes and tolerance, for others signalled either a dangerous abandonment of political commitment and submission to the values of consumerism or merely confirmed their worst suspicions of democracy and the freedom of expression, provoking a further retrenchment of

in Contemporary Spanish cinema
Scott Wilson

. It is the most vivid political manifestation of the sovereign imperative immanent to supercapitalism, precipitating the world into the post-democratic era. Notes 1 The diagrams in this chapter have been ‘sampled’ from an article by Jacques-Alain Miller (1988). They illustrate certain aspects of the Lacanian concept of ‘extimité’. In this chapter this concept has been adapted in such a way that they demonstrate how much Bataillean concepts are ‘extimate’ to those of Lacan. 96 2 Great Satan’s rage See the fierce criticism to which Quentin Tarantino was subject

in Great Satan’s rage
José López Mazz

concealed with concrete slabs. A training area for tanks was subsequently set up over the bodies, and eventually the whole area was carefully forested.36 A large amount of false information was sent to the GIAF team in an attempt to mislead its research, something which amounts to another form of active concealment, this time in the democratic era.37 In 2004 the Peace Commission created by President Jorge Batlle heard evidence from military figures which suggested that all of the missing bodies had been exhumed (in Operation Carrot), The military dictatorship in Uruguay

in Human remains and identification
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International Relations theory and Germany
Richard Ned Lebow

development or evidence in support of or against particular theories. My data indicate that not all paradigms have an equal interest in the empirical world. Realists, liberals and constructivists are very interested in history. They refer extensively to countries and events mostly, but by no means exclusively, from 1914 up to the present day. The Western world gets more attention than the non-West. Some realists and constructivists engage early modern Europe or the ancient world. Liberals understandably have little interest in the pre-industrial and pre-democratic era

in Prussians, Nazis and Peaceniks