PATRIMONIO ESPAÑOL, CINE ESPAÑOL. EL EXTRAÑO CASO DE JUANA LA LOCA

(…)This essay projects on the Spanish film Juana la loca interpretive categories derived from the study of British historical films such as Elizabeth. It finds in Juana la loca a variant of the tension between the progressivism of narrative content and the reactionary aesthetic form typical of this British film subgenre. This specific film form is a symptom that reveals a great deal about Spanish cultural contradictions at the time (…)(…)Este ensayo aplica al film Juana La Loca las categorías y análisis que ha generado el cine histórico inglés, representado por films como Elisabeth o Lo que queda del día. Así constata en Juana La Loca una variación de la tensión entre el progresismo del contenido narrativo y forma estética reaccionaria propia de este género de cine histórico inglés. En efecto, esta tensión llega a desaparecer sepultada por las irrupciones histéricas de sexualidad de sus planos cortos y la forma lejana de relacionarse con los demás contenidos fílmicos. El autor considera que esta forma específica de film es un síntoma que representa bien todas las contradicciones culturales españolas de los años 20 (…

Television Drama in Spain and Latin America

Television Drama in Spain and Latin America addresses two major topics within current cultural, media, and television studies: the question of fictional genres and that of transnational circulation. While much research has been carried out on both TV formats and remakes in the English-speaking world, almost nothing has been published on the huge and dynamic Spanish-speaking sector. This book discusses and analyses series since 2000 from Spain (in both Spanish and Catalan), Mexico, Venezuela, and (to a lesser extent) the US, employing both empirical research on production and distribution and textual analysis of content. The three genres examined are horror, biographical series, and sports-themed dramas; the three examples of format remakes are of a period mystery (Spain, Mexico), a romantic comedy (Venezuela, US), and a historical epic (Catalonia, Spain). Paul Julian Smith is Distinguished Professor at the Graduate Center, City University of New York. He was previously Professor of Spanish at the University of Cambridge. He is the author of twenty books and one hundred academic articles

Television Drama in Spain and Latin America: Genre and Format Translation

Television Drama in Spain and Latin America addresses two major topics within current cultural, media, and television studies: the question of fictional genres and that of transnational circulation. While much research has been carried out on both TV formats and remakes in the English-speaking world, almost nothing has been published on the huge and dynamic Spanish-speaking sector. This book discusses and analyses series since 2000 from Spain (in both Spanish and Catalan), Mexico, Venezuela, and (to a lesser extent) the US, employing both empirical research on production and distribution and textual analysis of content. The three genres examined are horror, biographical series, and sports-themed dramas; the three examples of format remakes are of a period mystery (Spain, Mexico), a romantic comedy (Venezuela, US), and a historical epic (Catalonia, Spain). Paul Julian Smith is Distinguished Professor at the Graduate Center, City University of New York. He was previously Professor of Spanish at the University of Cambridge. He is the author of twenty books and one hundred academic articles

Cinema, popular entertainment, literature and television

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

PATRIMONIO ESPAÑOL, CINE ESPAÑOL. EL EXTRAÑO CASO DE JUANA LA LOCA

(…)This essay projects on the Spanish film Juana la loca interpretive categories derived from the study of British historical films such as Elizabeth. It finds in Juana la loca a variant of the tension between the progressivism of narrative content and the reactionary aesthetic form typical of this British film subgenre. This specific film form is a symptom that reveals a great deal about Spanish cultural contradictions at the time (…)(…)Este ensayo aplica al film Juana La Loca las categorías y análisis que ha generado el cine histórico inglés, representado por films como Elisabeth o Lo que queda del día. Así constata en Juana La Loca una variación de la tensión entre el progresismo del contenido narrativo y forma estética reaccionaria propia de este género de cine histórico inglés. En efecto, esta tensión llega a desaparecer sepultada por las irrupciones histéricas de sexualidad de sus planos cortos y la forma lejana de relacionarse con los demás contenidos fílmicos. El autor considera que esta forma específica de film es un síntoma que representa bien todas las contradicciones culturales españolas de los años 20 (…

Sociedades dramatizadas: la ficción televisiva de calidad en España y México

Over the last decade, Spain and Mexico have produced an extraordinary abundance of television drama and are considered as leaders in their respective continents. Only in 2014, Mexico produced more than one hundred thousand hours of television that were exported to over one hundred countries. Unlike the more fragile and vulnerable case of cinema, which depends on government subsidies and is dominated by Hollywood in local theatres, television in both countries is a very successful industry, connecting with domestic audiences and taking US production off the grid. This paper aims to explore the significant similarities between these two territories. To do so, it uses the study of the most relevant cases of dramatized fiction in each of the two countries.Durante la última década, España y México han producido una extraordinaria abundancia de drama televisivo y se encuentran entre los líderes de sus respectivos continentes. Solo en 2014, México produjo más de cien mil horas de televisión que se exportaron a cien países. A diferencia del caso del cine, más frágil y vulnerable puesto que depende de los subsidios del gobierno y está dominado por Hollywood en las salas locales, la televisión en ambos países es una industria que goza de mucho éxito, conecta con el público nacional y lleva la producción de Estados Unidos al margen de la parrilla. Este trabajo tiene como objetivo explorar las similitudes significativas que existen entre estos dos territorios. Para ello, se recurre al estudio de los casos más relevantes de la ficción dramatizada en cada uno de los dos países

Patrimonio español, cine español. El extraño caso de Juana la Loca

(…)Este ensayo aplica al film Juana La Loca las categorías y análisis que ha generado el cine histórico inglés, representado por films como Elisabeth o Lo que queda del día. Así constata en Juana La Loca una variación de la tensión entre el progresismo del contenido narrativo y forma estética reaccionaria propia de este género de cine histórico inglés. En efecto, esta tensión llega a desaparecer sepultada por las irrupciones histéricas de sexualidad de sus planos cortos y la forma lejana de relacionarse con los demás contenidos fílmicos. El autor considera que esta forma específica de film es un síntoma que representa bien todas las contradicciones culturales españolas de los años 20 (…

Of Stars and Solitude: Two Mexican Documentaries

By happy coincidence, Mexico in 2016 yielded two expert and moving documentaries on women, sex, and aging: María José Cuevas’s Bellas de noche (Beauties of the Night) and Maya Goded’s Plaza de la Soledad (Solitude Square). Both are first-time features by female directors. And both are attempts to reclaim previously neglected subjects: showgirls of the 1970s and sex workers in their seventies, respectively. Moreover, lengthy production processes in which the filmmakers cohabitated with their subjects have resulted in films that are clearly love letters to their protagonists