2,026 research outputs found

    Spanish Cinema Now

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    Festival of Spanish Cinema

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    Bienvenidos al Festival de Cine Espa帽ol de 2008! Welcome to the 2008 Festival of Spanish Cinema! The first annual Spanish Film Festival is underway at the Morris Theatre through October 12

    Pedro Almod贸var and Ic铆ar Bolla铆n on Gender Violence in Spanish Cinema

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    This study sought to determine whether Franco-period conservatism and traditionalist values played a role in the portrayal of women, as well as gender violence, in the post-Transition cinema of Pedro Almod贸var and Ic铆ar Bolla铆n. Four of Almod贸var's movies were studied and categorized in two parts: pre and post 2000's. From Bolla铆n, three movies were studied, all released after the year 2000. The year 2000 is marked to represent a change in Spanish society's views of gender violence and governmental action was taken to protect women in abusive relationships. The study finds that while traditionalist ideals from the Franco regime are clearly represented in both Almod贸var and Bolla铆n's films, the purpose is primarily to show a distinction between the oppressive period against women and the obstacles women must battle for equal liberties in relationships and society after the Transition, showing that although Francisco Franco has not been in power, the morals from his time as dictator have a lasting effect on women in Spain.No embargoAcademic Major: Spanis

    Thomas G. Deveny: Cain on Screen. Contemporary Spanish Cinema

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    Review of: Thomas G. Deveny. Cain on Screen. Contemporary Spanish Cinema. Metuchen, N.J., The Scarecrow Press, 1993, 345 pp

    Redefining gender in twenty-first century spanish cinema: the films of Pedro Almod贸var

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    The aim of this research is the evolving cultural conception of gendered identities in prominent and significant films produced in 21st Century Spanish cinema of filmmaker Pedro Almod贸var. This research project will examine how new images of gender representations appear at the turn of the 21st Century in which the focus is characterised by the tensions between subjective experience and the broader social collectivity. A gender-based theoretical framework will be applied, using psychoanalysis as a tool to deconstruct, analyse and gain in-depth insight into strategies applied by Almod贸var in order to challenge patriarchal and repressive stereotypes and practices throughout his 21st Century filmography. This analysis will create a dialogue between psychoanalytic theory and the film narrative, demonstrating how psychoanalytic notions have been portrayed through the medium of film, defining male and female subjectivity in cinema and in wider society. This thesis examines the creation of what could be considered a 鈥淣ew Spanish Cinema鈥 upon which the representation and perceptions of gendered identities can be regarded as having moved towards a sense of sophistication. Given the increasing importance attached to cultural and gender studies, research into 21st Century Spanish cinema is still a new and largely unexplored area. This thesis provides a distinctive contemporary insight into Spanish Cinema and gender politics. The discourse constructed, deconstructed and reconstructed by Pedro Almod贸var will be analysed in order to represent new conceptions of identity, sexuality and the redefinition of gender in 21st Century Spanish Film

    Cinema, popular entertainment, literature and television

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    This is an attempt to analyze the relationship between spanish cinema and the popular culture and entertainment through its history

    Photography, production, design and editing

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    The formal features that have made Spanish cinema what it is and the technical processes behind them (camerawork, production design, editing) have passed through the same stages of trial and error, hurdles, crises, and conflicts as has been the case with other national cinemas. The notion of the exceptionalism of Spanish cinema is not supported by evidence, unless by 鈥渁nomaly鈥 we just mean 鈥渃ultural specificity.鈥 Cultural specificities there have been, as there are today: the highly idiosyncratic set designs of popular adaptations (of zarzuelas, of literary texts) in the 1920s; the enforced experimentation of the Civil War; the claustrophobic atmosphere of the postwar years; the prolongation of the studio age perhaps longer than in any other country; and the modest impact of lightweight cameras and direct sound in the modernizing phase that began in the late 1950s. But are these cultural specificities any greater than those represented by 1920s German expressionism and Soviet montage, 1930s French poetic realism, the New York underground, or the cyclical recurrence of genres in Japan? A good case can be made for giving Spanish cinema back its normality; that is, its unsurprising singularity

    La Casa Cuesta, los toros y el humor cinematogr谩fico

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    La valenciana Casa Cuesta fue una de firmas productoras m谩s destacadas en los primeros a帽os del cine espa帽ol. Sus camar贸grafos filmaron muchos documentales sobre corridas de toros y otros eventos taurinos que posteriormente se distribu铆an en el 谩mbito nacional e internacional. Con su pel铆cula 鈥淏en铆tez quiere ser torero鈥 abord贸 ese mismo tema desde la ficci贸n, logrando la primera comedia de la que se tiene noticia en el cine espa帽ol. De este modo, la Casa Cuesta introdujo el tema taurino en el cine de ficci贸n iniciando una tendencia ampliamente secundada en el cine espa帽ol, y en menor medida internacional en el internacional, de las d茅cadas posteriores.Valencian Casa Cuesta was one of most important in the early years of Spanish cinema producing firms. Their cameramen filmed many documentaries about bullfighting and other taurino events subsequently distributed nationally and internationally. With his film "Benitez quiere ser torero" treated the same subject from fiction, achieving the first taurine comedy that has been reported in the Spanish cinema. Thus, the Casa Cuesta introduced bullfighting theme in fiction films, starting a trend widely seconded in the Spanish cinema, and to a lesser extent internationally, in later decades

    The limits of low-cost cinema in Spain: an analysis of the #Littlesecretfilm movement

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    This is an Author's Original Manuscript of an Article whose final and definitive form, the Version of Record, has been published in the Creative Industries Journal, 2020, 13:1, available online at: https://doi.org/10.1080/17510694.2019.1652024The self-styled #Littlesecretfilm phenomenon is a low-cost film production and distribution movement that was launched in Spain in 2013. Based on a reconstruction and examination of its development from its foundation (with the publication of a manifesto in the form of ten commandments) through to its products (a full survey of which are presented here), this article offers a meaningful and not entirely uncritical snapshot of a conscious proposal of a low-cost production model in contemporary Spain. In our conclusion, we tie this film movement in with international debates about the viability of a low-cost approach in the context of a national film industry that has been left badly battered by the financial crisis that began in 2008
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