Read e-book online A Cinema of Contradiction: Spanish Film in the 1960s PDF

By Sally Faulkner

ISBN-10: 0748621601

ISBN-13: 9780748621606

"This is a superb research of a few of the main attention-grabbing motion pictures made in Spain within the Sixties. Sally Faulkner's based research attracts cognizance to ignored in addition to extra known movies in a interval of transition. The ebook is an important contribution to our knowing of Sixties Spanish cinema, in its well known in addition to art-movie traditions." Peter Evans, Queen Mary, college of LondonA key decade in international cinema, the Nineteen Sixties used to be additionally a vital period of swap in Spain. A Cinema of Contradiction, the 1st ebook to concentration intensive in this interval in Spain, analyses six motion pictures that mirror and interpret those ameliorations. The coexistence of conventional and glossy values and the timid popularity of constrained swap by means of Franco's authoritarian regime are signs of the asymmetric modernity that characterises the interval. Contradiction - the unavoidable influence of that unevenness - is the conceptual terrain explored via those six filmmakers. the most major pursuits of Spanish movie background, the 'New Spanish Cinema' artwork motion pictures discover contradictions of their subject material, but are themselves the contradictory items of the state's safety and merchandising of flicks that have been ideologically against it. A Cinema of Contradiction argues for a brand new analyzing of the circulate as a compromised but still powerful cinema of critique. It additionally demonstrates the potential contestatory price of well known movies of the period, suggesting that they might equally discover contradictions. This publication hence unearths the overlaps among artwork and renowned movie within the interval, and argues that we must always see those as complementary instead of opposing components of cinematic task in Spain.Features* the 1st book-length research of Spanish cinema of the Nineteen Sixties in English.* contains case reports of six key motion pictures: los angeles gran familia (The nice Family), l. a. ciudad no es para m? (The City's now not For Me), Los farsantes (Frauds), l. a. t?a Tula (Aunt Tula), Nueve cartas a Berta (Nine Letters to Berta) and l. a. caza (The Hunt).* Considers Spanish well known cinema of the period.* deals an in depth research of 1 of the foremost inventive activities of the Franco dictatorship in Spain, the 'Nuevo Cine Espa?ol' (New Spanish Cinema). (1/1/2007)

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This chapter will therefore analyse first how the film conceals contradictions to construct a conservative vision of the family that was convincing enough to win over the ‘National Interest’ awards board. Genre, plot, musical score and performance style are harnessed to naturalise Franco’s 1960s Great Family and show that the current economic boom happily coexists with traditional family structures. However, there are fault-lines running through the film that, even if they do not entirely undermine it, at least weaken this construction of conservatism.

His nutritional habits reinforce his characterisation as a naughty little child: when the family watch a film and the voice of the mother is heard warning that eating too many sweets leads to worms, she is talking to the grandpa, not one of the little kids. Indeed, when the younger ones fall ill after eating too many cakes at the first communion, the adults and older children remain well, but the grandpa falls sick too. ‘Eres más crío que los críos’ the mother reprimands him on arriving home during a particularly raucous battle-game, which idiomatically translates as ‘you’re just a big kid’, but literally means ‘you’re more of a kid than the kids’.

Moreover, and more importantly, the disruption and restoration of the status quo through the loss and return of the child allow scriptwriters and directors to signal the compatibility of family life and the modern city. Chencho gets lost owing to the threat posed to the family by the anonymous modern city, but he is found thanks to television, a synecdoche of that same modernity: the family appeal for Chencho’s return in a television advert, and when the boy recognises his parents on screen, it pricks the consciences of his kidnappers.

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A Cinema of Contradiction: Spanish Film in the 1960s by Sally Faulkner

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