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Spanish Film Policies and Gender
This book provides a comprehensive cultural and historical account of the key film policies put into place by the Spanish state between 1980 and 2010 through a gendered lens, framing these policies within the wider context of European film and media legislation.
Spanish Film Policies and Gender
This book provides a comprehensive cultural and historical account of the key film policies put into place by the Spanish state between 1980 and 2010 through a gendered lens, framing these policies within the wider context of European film legislation. Departing from the belief that there is no such thing as an objective and value-neutral approach to policy analysis because our society is organised around gender, this volume builds upon Pierre Bourdieu’s theory of field to propose that film policies do not emerge in a vacuum because they respond to different demands from those agents involved in the field of the Spanish cinema. By so doing, it critically assesses how these policies have come into being, by whom, in response to what interests, how they have shaped the Spanish film industry, and how far and in what ways they have tackled gender inequality in the Spanish film industry. This book will be of great interest to scholars and students of Spanish cinema, gender studies, film industry studies, film policy, and feminist film studies.
Spanish Film Cultures
The past four decades have seen the Spanish film industry rise from isolation in the 1970s to international recognition within European and World Cinema today. Exploring the cultural and political imperatives that governed this success, this book shows how Spanish film culture was deliberately and strategically shaped into its current form.
States of danger and deceit
States of danger and deceit places key films (Z (1969), The Mattei Affair (1972), State of Siege (1972), The Lost Honour of Katharina Blum (1975), Illustrious Corpses (1976)) and filmmakers (Costa-Gavras, Elio Petri, Francesco Rosi, Volker Schlöndorff) from across Europe into their historical, political and social contexts before considering the ways they have impacted upon politically engaged filmmakers since. Presented in a dossier format, made up of shorter engaging pieces, this volume offers a series of contextualisations and detailed explorations of significant examples of the political thriller from across Europe.
Dark Laughter
In Dark Laughter, Juan F. Egea provides a remarkable in-depth analysis of the dark comedy film genre in Spain, as well as a provocative critical engagement with the idea of national cinema, the visual dimension of cultural specificity, and the ethics of dark humor. Egea begins his analysis with General Franco's dictatorship in the 1960s—a regime that opened the country to new economic forces while maintaining its repressive nature—exploring key works by Luis García Berlanga, Marco Ferreri, Fernando Fernán-Gómez, and Luis Buñuel. Dark Laughter then moves to the first films of Pedro Almodóvar in the early 1980s during the Spanish political transition to democracy before examining Alex de la Iglesia and the new dark comedies of the 1990s. Analyzing this younger generation of filmmakers, Egea traces dark comedy to Spain's displays of ultramodernity such as the Universal Exposition in Seville and the Barcelona Olympic Games. At its core, Dark Laughter is a substantial inquiry into the epistemology of comedy, the intricacies of visual modernity, and the relationship between cinema and a wider framework of representational practices.
European Cinema in the Twenty-First Century
This book rethinks the study of European Cinema in a way that centres on students and their needs, in a comprehensive volume introducing undergraduates to the main discourses, directions and genres of twenty-first-century European film. Importantly, this collection is the first of its kind to apply a transversal approach to European Cinema, bringing together the East and the West, while providing a broad picture of key trends, aesthetics, genres, national identities, and transnational concerns. Lewis and Canning’s collection effectively addresses some of the most pressing questions in contemporary European film, such as ecology, migration, industry, identity, disability, memory, auteurship, genre, small cinemas, and the national and international frameworks which underpin them. Combining accessible original research with a thorough grounding in recent histories and contexts, each chapter includes key definitions, reflective group questions, and a summative case study. Overall, this book makes a strong contribution to our understanding of recent European Cinema, making it an invaluable resource for lecturers and students across a variety of film-centred modules.
The Spanish Lake
This work is a history of the Pacific, the ocean that became a theatre of power and conflict shaped by the politics of Europe and the economic background of Spanish America. There could only be a concept of &�the Pacific once the limits and lineaments of the ocean were set and this was undeniably the work of Europeans. Fifty years after the Conquista, Nueva Espaą and Peru were the bases from which the ocean was turned into virtually a Spanish lake.
The Media in Transitional Democracies
The last quarter of a century has seen an unprecedented wave of democratization around the globe. In these transitions from authoritarian rule to a more democratic order, the media have played a key role both by facilitating, but frequently also inhibiting, democratic practices to take root. This book provides an accessible and systematic introduction to the media in transitional democracies. It analyses the problems that occur when transforming the media into independent institutions that are able to inform citizens and hold governments to account. The book covers the following topics: normative conceptions of media and democracy; the role of the past in the transition process; the internet...
