The acute processes of globalisation at the turn of the century have generated an increased interest in exploring the interactions between the so-called global cultural products or trends and their specific local manifestations. Even though cross-cultural connections are becoming more patent in filmic productions in the last decades, cinema per se has always been characterized by its hybrid, transnational, border-crossing nature. From its own inception, Spanish film production was soon tied to the Hollywood film industry for its subsistence, but other film traditions such as those in the Soviet Union, France, Germany and, in particular, Italy also determined either directly or indirectly the development of Spanish cinema.
Global Genres, Local Films: The Transnational Dimension of Spanish Cinema reaches beyond the limits of the film text and analyses and contextualizes the impact of global film trends and genres on Spanish cinema in order to study how they helped articulate specific national challenges from the conflict between liberalism and tradition in the first decades of the 20th century to the management of the contemporary financial crisis. This collection provides the first comprehensive picture of the complex national and supranational forces that have shaped Spanish films, revealing the tensions and the intricate dialogue between cross-cultural aesthetic and narrative models on the one hand, and indigenous traditions on the other, as well as the political and historical contingencies these different expressions responded to.
|Product dimensions:||6.00(w) x 9.00(h) x 0.80(d)|
About the Author
Elena Oliete-Aldea is Lecturer at the Department of English of the University of Zaragoza, Spain. Her work has been published in scholarly journals like Studies in Popular Culture, Culture Unbound, Studies in Spanish and Latin American Cinemas. She is co-editor of Culture and Society in the Age of Globalisation (2005) and author of Hybrid Heritage on Screen, the Raj Revival in the Thatcher Era (2015).
Beatriz Oria is Lecturer at the Department of English of the University of Zaragoza, Spain, where she teaches Film Analysis. She has published articles in scholarly journals like The Journal of Popular Film and Television, The Journal of Popular Culture or Journal of Popular Romance Studies. She is the co-editor of Intimate Explorations: Readings Across Disciplines (2009) and the author of Talking Dirty on 'Sex and the City': Romance, Intimacy, Friendship (2014).
Juan A. Tarancón is Lecturer at the Department of English of the University of Zaragoza, Spain. His work has appeared in CineAction, Cultural Studies, The Quarterly Review of Film and Video, New Cinemas: Journal of Contemporary Film, and in varied Spanish books and scholarly journals.
Table of Contents
Foreword Spanish Cinema and the National/Transnational Debate: A Brief Reflection
Barry Jordan, De Montfort University, UK
Elena Oliete, Beatriz Oria and Juan Tarancón, Universidad de Zaragoza, Spain
Part I: Rethinking Spanishness: The Soft Edges of Early Cinema
The Tuneful 1930s: Spanish Musicals in a Global Context
Valeria Camporesi, Universidad Autónoma de Madrid, Spain
Historical Films during the First Years of the Franco Regime and Their Transnational Models
Vicente José Benet, Universitat Jaume I, Spain
Realism, Social Conflict and the Rise of Crime Cinema in Francoist Spain
Juan Tarancón, Universidad de Zaragoza, Spain
Luis Lucia's Lola la piconera (1951): Hybridity, Politics, Entertainment
Federico Bonaddio, King's College, London, UK
Nothing Ever Happens: Juan Antonio Bardem and the Resignification of Hollywood Melodrama (1954-1963)
Daniel Mourenza, The University of Leeds, UK
Part II: Broadening Perspectives: Crossing Borders, Crossing Genres
Carlos Saura's Stress es tres, tres (1968): A New Spanish Cinema with French and American Influences?
Arnaud Duprat de Montero, Université Rennes 2, France
Violence, Style and Politics: The Influence of the Giallo in Spanish Cinema of the 1970s
Andy Willis, University of Salford, UK
Spanish Gothic Cinema: The Hidden Continuities of a Hidden Genre
Ann Davies, University of Stirling, UK
Re-framing Empire: Mediating Encounters and Resistance in Spanish Transatlantic Cinema Since 1992
Noelia Saenz, University of Southern California, USA
The Transnational Dimension of Contemporary Spanish Road Movies
Carmen Indurain Eraso, Universidad Pública de Navarra, Spain
Rural Spain as a Transnational Space for Reflection in Icíar Bollaín's Flores de otro mundo (1999)
Chantal Cornut-Gentille D'Arcy, Universidad de Zaragoza, Spain
Part III: Appropriating the Global: Self-Conscious Transnationalism
Isn't it Bromantic?: New Directions in Contemporary Spanish Comedy
Beatriz Oria, Universidad de Zaragoza, Spain
Malamadres and Bertomeus: Transnational Crime Film and Television
Luis M. García-Mainar, Universidad de Zaragoza, Spain
Local Responses to Universal Sufferings in Isabel Coixet's Transnational Melodramas
Hilaria Loyo, Universidad de Zaragoza, Spain
Transnational Contours and Representation Models in Recent Films about Immigration in Spain
Alberto Elena and Ana Martín Morán, Universidad Carlos III, Spain
Transnational Identities in Galician Documentary Film: Alberte Pagán's Bs. As. (2006) and Xurxo Chirro's Vikingland (2011)
Iván Villarmea Álvarez, Universidad de Zaragoza, Spain
(In)Visible Co-productions, Spanish Cinema, the Market and the Media
Vicente Rodríguez Ortega, Universidad Carlos III, Spain