A Companion to Spanish Cinema

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

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Extra resources for A Companion to Spanish Cinema

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3. The Surrealists. It is worth noting here that one group of intellectuals did take American horror movies very seriously indeed: the writers, painters, and filmmakers of the Surrealist ~uel numbers The Beast with Five Fingers among his favorite films and paid movement. Luis Bun THE AMERICAN NIGHTMARE: HORROR IN THE 70s 31 homage to it in The Exterminating Angel; Georges Franju, an heir of the Surrealists, numbers The Fly among his. The association is highly significant, given the commitment of the Surrealists to Freud, the unconscious, dreams, and the overthrow of repression.

Moreover, if Mary Douglas’s account of impurity is correct, things that violate our conceptual scheme, by (for example) being interstitial, are things that we are prone to find disturbing. Thus, that horrific beings are predictably objects of loathing and revulsion is a function of the ways they violate our classificatory scheme. If what is of primary importance about horrific creatures is that their very impossibility visà-vis our conceptual categories is what makes them function so compellingly in dramas of discovery and confirmation, then their disclosure, insofar as they are categorical violations, will be attached to some sense of disturbance, distress, and disgust.

The play of discovery and confirmation, supported by ratiocination, can be found in detective thrillers. And the plots of the disaster movies of the first half of the seventies often also look like horror plots; but instead of ghouls and vampires calling for discovery and confirmation, potential earthquakes, avalanches, floods, and simmering electrical systems are the culprits. Of course, with detective stories and disaster films, the evil that is disclosed is not impossible nor, in principle, unknown.

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