100 Years of Spanish Cinema by Tatjana Pavloviæ, Inmaculada Alvarez, Rosana Blanco-Cano,

By Tatjana Pavloviæ, Inmaculada Alvarez, Rosana Blanco-Cano, Anitra Grisales, Alejandra Osorio, Alejandra Sánchez

A hundred Years of Spanish Cinema offers an in-depth examine crucial activities, movies, and administrators of twentieth-century Spain from the silent period to the current day. A word list of movie phrases presents definitions of crucial technical, aesthetic, and historic termsFeatures a visible portfolio illustrating key issues of some of the motion pictures analyzedIncludes a transparent, concise timeline to assist scholars speedy position movies and genres in Spain’s political, least expensive, and old contextsDiscusses over 20 motion pictures together with Amor Que Mata, Un Chien Andalou, Viridana, El Verdugo, El Crimen de Cuenca, and  Pepi, Luci, Born

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Time passes, and Juan’s father finally dies. Juan then throws Acacia out of the house in the dead of winter. She wanders aimlessly through the town, physically sick and deranged from the loss of her child, and ends up in a mental hospital. More time passes and the couple reunite in Luján, the cursed town of the title, where Acacia, finally forgiven by Juan, returns to be with her son. Critical commentary Considered a masterpiece of Florián Rey, the director, and Spain’s final era of silent film, La aldea maldita is an “involuntary document of the customs, female condition, and moral conservatism of agrarian Spain” (Gubern, “1930–1936 (II República),” p.

Barcelona 1899, d. 25 A co-founder of Star Films-Barcelona, she made her directorial debut with El gato montés (1935), an adaptation of Manuel Penella’s popular zarzuela (a light, comic opera). Her second feature film, Molinos de viento, was shot at the very beginning of the Civil War in 1936 during the bombings of Barcelona. These films have noted technological shortcomings that are partially the result of precarious filming conditions during the rapidly intensifying conflict. This moment also signals the disintegration of the Spanish film industry and its definitive separation into two ideologically dichotomous cinemas: National versus Republican.

After a brief involvement in Madrid’s theater scene, he got a role in the film La inaccesible (José Buchs, 1920). Soon thereafter, he ventured into filmmaking and directed his first film, La revoltosa (1924), an adaptation of a popular zarzuela that quickly became a success. The following year he released another zarzuela adaptation called Gigantes y cabezudos. qxd 08/08/2008 15:09 Page 20 20 Silent Cinema and its Pioneers (1906–1930) In 1927 Rey introduced the celebrated singer Imperio Argentina to the screen in his film La hermana San Sulpicio, of which he released a sound version in 1934.

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