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Diana Holmes and Robert Ingram

relevance. The boys’ games are polyvalent: they are playing at gangsters or at soldiers or at cowboys and Indians. The allusion to genre films, the gangster/thriller, the war film, the western and thus Hollywood and American cinema, is unambiguous. The homage sequence juxtaposed with the games sequence is instantly identifiable to those familiar with the origins of (French) cinema: it is a remake of the Lumière Brothers short film

in François Truffaut

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.

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The transnational filmmaking of Guillermo Del Toro, Alejandro González Iñárritu, and Alfonso Cuarón
Author: Deborah Shaw

Guillermo del Toro, Alejandro González Iñárritu, and Alfonso Cuarón are the best-known Mexican directors internationally, yet none of them has directed a film in Mexico since 2001. This book examines the career trajectories of the directors and presents a detailed analysis of their most significant films. The three directors were lobbying for tax initiatives to stimulate filmmaking, more opportunities for the distribution and exhibition of Mexican films, and more involvement in film production from television companies. Guillermo del Toro is famous as a director of genre films. The book explores the similarities between the films generated by the authorial force of del Toro, also pointing to divergence occasioned by the very different production contexts. It also explores the auteurist strategies that he has cultivated and explains what is meant by a 'del Toro film'. Alejandro González Iñárritu has also cultivated auteurist strategies, but to a very different effect. The book examines the way in which Iñárritu adopts the language of US independent cinema, with a focus on the narrative structure and the application of a range of colour palettes. Alfonso Cuarón has also followed a transnational trajectory, making films in Mexico, the USA, and the UK, and he has had a varied career, taking on auteurist and studio projects. Despite the very different industrial context, Cuarón brought a number of artistic ideas he and his cinematographer had developed, notably the use of a green colour palette and opulent, highly decorated interiors and lush exteriors.

the horror genre and contemporary Spanish cinema
Andrew Willis

Filmax group of companies, with the explicit aim of making genre films that would have an appeal beyond the Spanish market. The last Fantastic Factory products, The Nun (Luis de la Madrid) and Beneath Still Waters (Brian Yuzna), were released in 2005, after which Yuzna, an American producer and director who had helped establish the label, left the organisation. Filmax continued its commitment to

in Contemporary Spanish cinema and genre
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Will Higbee

This book has sought to argue for Kassovitz’s importance in contemporary French cinema as a filmmaker whose work has engaged with (and, in some cases, helped shaped the direction of) key shifts in French cinema since the early 1990s, such as: new realism, the banlieue film and the ‘post-look’ spectacular genre film. In so doing, one of the central concerns in these

in Mathieu Kassovitz
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Brian Mcfarlane

figures to an extent which obscures beguiling work being done in less obviously prestigious areas of the field. Unlike, say, the Gainsborough or the Hammer oeuvres, Comfort’s work has not yet been the subject of reappraisal. Second, his work exhibits strengths in categories that have been habitually undervalued in the discourse on British cinema: melodrama, genre film-making and the ‘B’ film have only very recently been given

in Lance Comfort
Christopher Lloyd

technically brilliant craftsman, a skilled manipulator of audiences, who produced a series of arresting genre films? If he was as much an entertainer as an artist, why in that case did he direct so few films? And finally, were his films influenced in any way by the rise of the New Wave of French directors and critics from the late 1950s, or did they remain rooted in what some hostile commentators saw as a conventional and stultifying classicism? Although Clouzot’s output as a director spanned a period of twenty-six years, in this time he released only ten full-length feature

in Henri-Georges Clouzot
Valentina Vitali

year later.12 There is, however, little indication that these countries, rather than Italy, were the film’s intended primary markets. Because in the 1950s most Italians (and certainly the growing urban working and middle class) tended to prefer (dubbed) THE EXCLUSION OF GIALLO FILMS FROM HISTORY 37 American films to Italian productions, it was common for Italian directors of genre films to adopt American-sounding names – a practice that also facilitated the films’ circulation in the United States and other foreign markets. But, as I discuss later in this chapter

in Capital and popular cinema
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Michael Haneke’s Funny Games and globalisation’s new uncanny
Barry Murnane

Since its release in 1997 critics have interpreted Michael Haneke’s Funny Games in terms of European counter-cinema’s deconstruction of Hollywood genre film. Such accounts have drawn on a range of provocative statements by the Austrian director, who has gone on record to state that his intention in making the film was to ‘rape the viewer into independence’ and thus

in Globalgothic
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Ann Davies

Calparsoro turns to the war and horror genres the critique of violence is more muted. By the time the director immerses himself into genre film he has to some extent already been pigeonholed as the violent enfant terrible of Spanish cinema and critics are able to pigeonhole the violence of the films in exactly the same way: they make use of an auteurist conceptualisation to dismiss more detailed consideration of the representation of violence in Spanish cinema. Calparsoro’s vision thus remains fairly unified across his work in terms of theme and narrative structure. In

in Daniel Calparsoro