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A Companion to Spanish Cinemaby Jo Labanyi
Synopses & Reviews
A Companion to Spanish Cinema is a bold collection of newly commissioned essays written by top international scholars that thoroughly interrogates Spanish cinema from a variety of thematic, theoretical and historic perspectives.
Spanish cinema has firmly established itself on the international film scene over the last two decades, and is now an integral part of the syllabus for students of Spanish and Cinema Studies. A Companion to Spanish Cinema closes a gap in existing scholarship, presenting an insightful and provocative collection of newly commissioned essays covering the whole time-span of Spanish cinema.
Drawing on the best of the American, British, and Spanish critical traditions, twenty-six top international scholars discuss major issues in Spanish cinema from a variety of theoretical and geographical perspectives. The volume’s thematic approach to the history of Spanish cinema is unique in the field, and combines coverage of key topics with in-depth textual analysis of specific films. A rich mosaic of genres and formats are explored – from popular and art cinema to documentary, shorts, experimental film, and animation – as are the cultural, artistic, industrial, commercial, and theoretical contexts of the medium.
An invaluable introduction to Spanish cinema for first-time students and teachers of Spanish culture, this companion also offers innovative models for future research that will benefit experienced scholars.
About the Author
Jo Labanyi is Professor of Spanish at New York University, and a Fellow of the British Academy. The co-editor (with Helen Graham) of the classic text, Spanish Cultural Studies: An Introduction: The struggle for modernity (1995), her most recent publications are Constructing Identity in Contemporary Spain: Theoretical Debates and Cultural Practice (2002), and Spanish Literature in Oxford’s Very Short Introduction series (2010). Her research interests include modern Spanish literature, film, photography, popular culture, gender, and memory studies.
Tatjana Pavlovi? is an Associate Professor of Spanish at Tulane University in New Orleans. She published her first book, Despotic Bodies and Transgressive Bodies: Spanish culture from Francisco Franco to Jesús Franco in 2003, and her recent works include 100 Years of Spanish Cinema (Wiley-Blackwell, 2008) and The Mobile Nation (1954-1964): España cambia de piel (2011). Her research and teaching interests center on twentieth-century Spanish intellectual history, literature, cultural studies, and film.
Table of Contents
List of Figures ix
List of Contributors xviii
1 Introduction 1
Part I Reframing the National 13
2 Transnational Frameworks 15
3 Echoes and Traces: Catalan Cinema, or Cinema in Catalonia 50
4 Negotiating the Local and the Global: Andalusia, the Basque Country, and Galicia 81
Part II The Construction of the Auteur 111
5 Auteurism and the Construction of the Canon 113
6 Strategic Auteurism 152
Part III Genre 191
7 Comedy and Musicals 193
8 Melodrama and Historical Film 224
9 Film Noir , the Thriller, and Horror 259
Part IV Stars as Cultural Icons 291
10 The Construction of the Star System 293
11 Stars, Modernity, and Celebrity Culture 319
Part V Image and Sound 343
12 Photography, Production Design, and Editing 345
13 Soundtrack 370
Part VI The Film Apparatus: Production, Infrastructure, and Audiences 389
14 Censorship, Film Studios, and Production Companies 391
15 Film Clubs, Festivals, Archives, and Magazines 434
16 Audiences 464
Part VII Relations with Other Media 487
17 Cinema, Popular Entertainment, Literature, and Television 489
Part VIII Beyond the Fiction Film 519
18 Newsreels, Documentary, Experimental Film, Shorts, and Animation 521
Part IX Reading Films through Theory 543
19 Isabel Coixet ’ s Engagement with Feminist Film Theory: From G (the Gaze) to H (the Haptic) 545
20 Becoming a Queer (M)Other in/and/through Film: Transsexuality, Trans-subjectivity, and Maternal Relationality in Almodóvar ’ s Todo sobre mi madre 563
21 The Space of the Vampire: Materiality and Disappearance in the Films of Iván Zulueta 581
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