This pioneering volume argues that cinema and television in Spain only make sense when considered together as twin vehicles for the screen fiction that has come to dominate the twenty-first century. Offering comparative readings of films such as Pedro Almodóvar’s classic Women on the Verge of a Nervous Breakdown with his production company’s first foray into television production—a 2006 series called Women—alongside prize-winning workplace dramas watched by thousands on Spanish television, Alejandro Amenábar’s The Sea Inside, and the attempts to establish the dominant Latin American genre of the telenovela in the very different context of Spanish television.
“Gesta de sangre: la guerra de castas.” No place. N.d. Unpublished film script. Typescript. González y González, Fernando. Historia de la television Mexicana 1950–1985. Mexico City: Edición del coordinador, 1989. Print.
preoccupies the strand of Spanish cinema in which children bear traumatized witness to the legacy of the Civil War. Ofelia repeatedly insists, at the start of the film, that the Captain is not her father. Only at the end will she return ...
Spanish Cinema of the New Millennium provides a new approach to the study of contemporary Spanish cinema between 2000 and 2015, by analysing films that represent both ‘high’ and ‘popular’ culture side by side.
An examination of cinematic versions of post-Civil War narratives that had their debut during three key decades of Spanish cinema (1965-1995). The study begins with an overview of the critical...
“An engrossing, suspenseful family saga filled with unpredictable twists and turns.” —Chanel Cleeton, New York Times bestselling author of Next Year in Havana “With an equal mix of historical fiction, dramatic family conflict, and ...
This guide to Spanish film documents the film industry's interpretation of the isolating effects of the cultural traditionalism of the early twentieth century to the expanding international popularity of such...
Indeed, the woman who emerges will surprise even those who know her legend, that of the Queen of the South.
“Almodóvar's Unpublished Short Stories and the Question of Queer Auteurism.” Screen 50: 439–49. ———. 2009c. “City Girls I: Almodóvar's Women on Film and Television.” In Spanish Screen Fiction: Between Cinema and Television, 17–37.
Under the Franco dictatorship, literary adaptations became politicized. Critics have questioned the frequent supposition that the cinema of early Francoism uniformly promoted regime ideology, and this holds true for adaptations of the ...
Emilia spices up her dull day-job as a maid and purges her bitter memories of abandonment by a Spanish partner who returns to his wife by posing as a high-class French prostitute and preying on a series of male Spanish tourists.