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, motion pictures, and administrators of twentieth-century Spain from the silent period to the current day. A thesaurus of movie phrases presents definitions of crucial technical, aesthetic, and old termsFeatures a visible portfolio illustrating key issues of a number of the motion pictures analyzedIncludes a transparent, concise timeline to aid scholars fast position movies and genres in Spain’s political, reasonably-priced, and ancient contextsDiscusses over 20 movies together with Amor Que Mata, Un Chien Andalou, Viridana, El Verdugo, El Crimen de Cuenca, and Pepi, Luci, Born
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Extra resources for 100 Years of Spanish Cinema
Then the camera juxtaposes multiple close-ups: the church steeple, a servant’s body, and the Virgin carved on the front of the building; and shows a panorama of the convent in ruins along with the suggestive penetration of the arc of one of its walls. The scene’s Freudian elements and surrealist aesthetic foreground Buñuel’s complex scrutiny of religion, power, and sexuality. Buñuel appeals to the subconscious as a means of linking the otherwise disconnected elements of the scene. Thus, the way the scene is edited suggests a critique of the power of the Catholic church, a key element of Buñuel’s political and surrealist engagement.
Qxd 08/08/2008 15:10 Page 25 Surrealism (1924–1930) and Sound (1931–1936) 25 Ricardo Urgoiti, the founder of Filmófono, CIFESA’s main competitor, was an heir to a Basque newspaper family that belonged to the progressive, liberal, laic tradition. Urgoiti’s liberal leanings were nevertheless counterbalanced by the production of escapist films geared toward a mass audience. Both companies were very successful. CIFESA’s clever use of a Hollywood strategy, acaparamiento de talentos, (monopoly over the most prominent directors and stars), resulted in the most commercially successful films of the era.
With this radical act Buñuel demonstrates, as Jenaro Talens suggests, that “the question is not so much to show the world but to analyze how this world is looked at (that is, constituted) by the cinematographic apparatus” (Talens, The Branded Eye: Buñuel’s Un chien andalou, p. xvi). The surprising and visually graphic mutilation of the eye enacts a form of physical aggression not just on the eye, but on the spectator as well. Thus, in the spirit of surrealism, this gesture compels the spectator to be an active subject when faced with a work of art.
100 Years of Spanish Cinema by Tatjana Pavloviæ, Inmaculada Alvarez, Rosana Blanco-Cano, Anitra Grisales, Alejandra Osorio, Alejandra Sánchez