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A Companion to Spanish Cinema

A better half to Spanish Cinema is a daring choice of newly commissioned essays written by way of most sensible foreign students that completely interrogates Spanish cinema from numerous thematic, theoretical and old perspectives.
Presents an insightful and provocative choice of newly commissioned essays and unique examine by way of best overseas students from a number of theoretical, disciplinary and geographical views
Offers a scientific ancient, thematic, and theoretical method of Spanish cinema, special within the field
Combines a radical and insightful research of a large spectrum of subject matters and concerns with in-depth textual research of particular films
Explores Spanish cinema’s cultural, creative, commercial, theoretical and advertisement contexts pre- and post-1975 and the suggestion of a “national” cinema
Canonical administrators and stars are tested along understudied administrators, screenwriters, editors, and secondary actors
Presents unique examine on photograph and sound; style; non-fiction movie; associations, audiences and undefined; and kin to different media, in addition to a theoretically-driven part designed to stimulate leading edge examine

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Extra resources for A Companion to Spanish Cinema

Sample text

Mann, phoning home, adopts an exaggeratedly masculine posture, uncertainly raising one foot upon a table, but straightaway moving it for a woman to enter. Deep-focus, extended long-shots again diminish, and distance the spectator from, this character who, when behind the wheel, fills the screen and seemingly drives the narrative. An arm in the foreground – answering to that seen outside in the cab, actually the woman’s – opens a tumble drier. The shot continues, now through the circular glass door filling the frame.

The start, one of four added scenes, is in effect a reverse angle of the beginning and end of The Searchers. Darkness, shared by the auditorium, represents domesticity from which a frame opens – spreading over the screen and encompassing the spectator – onto the panoramic West: a landscape of intense light where desperate men engage in one-to-one struggles. Speeding, the unseen motorist ignores a ‘STOP’ sign. Ensuing events suggest he has become complacent, cocooned in his ordered existence, about venturing into a competitive and alienated society, particularly – as hinted retrospectively – while angry.

An innocent abroad, as long as she controls events, she blithely trails havoc behind her, such as miraculous near misses as several cars skid at crossroads. Clovis’s unconditional devotion is his downfall. Such contradictions, unresolved by incomplete narrative closure, make The Sugarland Express fascinatingly symptomatic of social struggles around the period of its making. As Clovis, watching the drive-in, intuits, episodic comic chases that only temporarily restore narrative equilibrium, so the conflict can resume in a different scenario, are not necessarily comforting.

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