(Re)viewing Creative, Critical and Commercial Practices in Contemporary Spanish Cinema

Edited by Duncan Wheeler, Fernando Canet

Publication date:

15 December 2014

Publisher

Intellect Books

Dimensions:

229x178mm
7x9"

ISBN-13: 9781783204069

Formulated around a number of key thematic concerns – including new creative trends; the politics and practices of memory; auteurship, genre and stardom in a transnational age – this reassessment of contemporary Spanish cinema from 1992 to 2012 brings leading academics from a broad range of disciplinary and geographical backgrounds into dialogue with critically and commercially successful practitioners to suggest the need to redefine the parameters of one of the world’s most creative national cinemas. This volume will appeal not only to students and scholars of Spanish films, but also to anyone with an interest in contemporary world cinema.

Editorial Note

Chapter 1: Introduction: How and Why This Book Came into Being – Fernando Canet and Duncan Wheeler

Chapter 2: Spanish Films, 1992–2012: Two Decades of Cinematic Production and Critical Discourse – Duncan Wheeler

Chapter 3: From the Past to the Present: Contemporising Trends that Define Spanish Cinema – Fernando Canet

Part 1: Sense and Sensibility: New Forms of Being and Seeing in Recent Spanish Cinema

Chapter 4: Back to Africa? Colonial History and Postcolonial Dynamics in Recent Spanish Cinema – Alberto Elena

Chapter 5: The New Ethos of Gay Culture and the Limits of Normalization – Helio San Miguel

Chapter 6: Behind the Enigma Construct: A Certain Trend in Spanish Cinema – Javier Moral

Chapter 7: Reproduction and Rhetorical Processes in the Construction of Reality: En Construcción and La leyenda del tiempo as Case Studies – Fernando Canet

Chapter 8: Art and Ethnography: Miquel Barceló and Isaki Lacuesta – Earth Magicians? – Wenceslao García Puchades and Miguel Corella Lacasa

Chapter 9: The Everyday Affect: Isabel Coixet and the Five Senses – Jennie Rothwell

Part 2: Revisiting the Past: The Politics of Memory and the Transition’s Cinematic Legacy

Chapter 10: Ana Torrent as Palimpsest in Elio Quiroga’s No-Do (The Haunting) – Sarah Wright

Chapter 11: Victimhood in Contemporary Spanish Documentary: The Politics of Agency in Jaime Camino’s La vieja memoria and Los niños de Rusia – Isabel Estrada and Melissa M. González

Chapter 12: New Bodies, New Sounds: Rediscovering the Eroticism of the Transition – Alejandro Melero

Chapter 13: Blood and Unfulfilled Promises: Representations of Terrorism and the Transition – Concepción Cascajosa Virino

Chapter 14: Back to the Future: Repackaging Spain’s Troublesome Past for Local and Global Audiences – Duncan Wheeler

Chapter 15: Clowns, Goats, Music and the Comedic Violent: Late Francoism and the Transition to Democracy in Álex de la Iglesia’s Films – Vicente Rodríguez Ortega

Part 3: Redefining Auteurship, Genre and Stardom in a Transnational Age

Chapter 16: Almodóvar in the USA/The USA in Almodóvar – Cristina Martínez-Carazo

Chapter 17: Acting and Directing in Spain: Historicizing Stardom and the Author Function – Duncan Wheeler

Chapter 18: Sex, Art and Commerce: Penélope Cruz and Isabel Coixet Tackle Philip Roth in Elegy – Duncan Wheeler

Chapter 19: Deadly Hybridity: Sexykiller, the Female Serial Killer and the New Spanish Horror Film – Shelagh Rowan-Legg

Chapter 20: Flexing Generic Boundaries: Torrente, [REC] and Adolescent Cinema in Spain – Agustín Rico-Albero

Chapter 21: The Torrente Tetralogy: A Homegrown Saga – Lidia Merás

Chapter 22: Hybrid Models: Auteurism and Genre in Contemporary Spanish Crime Thrillers – Carmen Herrero

Chapter 23: Planet 51 and Spanish Animation: The Risks and Attractions of Globalization – Maria Soler Campillo, Marta Martín Núñez and Javier Marzal Felici

Coda: Backstage Pass – Engaging with Practitioners and Cinematic Institutions

Chapter 24: How to Make Arty Films Now – Luis Miñarro

Chapter 25: How to Make Commercial Films Now – Mercedes Gamero and Duncan Wheeler

Chapter 26: San Sebastián: A Film Festival of Contrasts – Mar Diestro-Dópido

Chapter 27: The Art Director as Architect: The Reconstruction of Deconstructed Memories – Sandra Martorell

Chapter 28: The Films of Isaki Lacuesta: Hidden Portraits, Multiple Lives – Linda C. Ehrlich

Chapter 29: Color perro que huye: An Audio-visual Prosumer versus the Institutional Cinematic Model – Elena López Riera

Chapter 30: New Tendencies in Contemporary Cinema: Round Table Discussion with José Luis Guerin, Isaki Lacuesta and Luis Miñarro – Fernando Canet and Duncan Wheeler

'The tome is a must-read for all scholars and serious students of contemporary Spanish cinema.'