By Sally Faulkner
"This is a wonderful learn of a few of the main fascinating movies made in Spain within the Nineteen Sixties. Sally Faulkner's dependent research attracts awareness to missed in addition to extra regularly occurring movies in a interval of transition. The booklet is an important contribution to our knowing of Sixties Spanish cinema, in its renowned in addition to art-movie traditions." Peter Evans, Queen Mary, college of LondonA key decade in global cinema, the Nineteen Sixties was once additionally an important period of switch in Spain. A Cinema of Contradiction, the 1st publication to concentration extensive in this interval in Spain, analyses six motion pictures that replicate and interpret those alterations. The coexistence of conventional and smooth values and the timid recognition of constrained swap by way of Franco's authoritarian regime are signs of the asymmetric modernity that characterises the interval. Contradiction - the unavoidable impact of that unevenness - is the conceptual terrain explored through those six filmmakers. essentially the most major pursuits of Spanish movie historical past, the 'New Spanish Cinema' artwork movies discover contradictions of their material, but are themselves the contradictory items of the state's security and promoting of flicks that have been ideologically against it. A Cinema of Contradiction argues for a brand new analyzing of the stream as a compromised but still potent cinema of critique. It additionally demonstrates the potential contestatory price of renowned movies of the period, suggesting that they could equally discover contradictions. This publication for that reason finds the overlaps among paintings and renowned movie within the interval, and argues that we should always see those as complementary instead of opposing parts of cinematic job in Spain.Features* the 1st book-length learn of Spanish cinema of the Sixties in English.* comprises case reports of six key movies: los angeles gran familia (The nice Family), los angeles ciudad no es para m? (The City's no longer For Me), Los farsantes (Frauds), l. a. t?a Tula (Aunt Tula), Nueve cartas a Berta (Nine Letters to Berta) and los angeles caza (The Hunt).* Considers Spanish renowned cinema of the period.* deals an in depth research of 1 of the most important creative routine of the Franco dictatorship in Spain, the 'Nuevo Cine Espa?ol' (New Spanish Cinema). (1/1/2007)
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Extra resources for A Cinema of Contradiction: Spanish Film in the 1960s
1 It was commissioned by Pedro Masó, a scriptwriter and sometime director (he worked on sixty-nine scripts over his long career, including those of La gran familia and La ciudad no es para mí [Chapter 2]), who became one of the most financially successful producers of the 1950s–1970s, working for both Asturias Films and his own company. Its director, Palacios, made only ten films before his premature death in 1965, including the sequel to La gran familia, La familia y uno más (The Family Plus One 1965) (Masó made the third part of the trilogy, La familia, bien, gracias [The Family’s Fine, Thanks 1979]) and two Marisol films, after gaining solid training as an assistant director for his uncle, Florián Rey, and Ladislao Vajda, director of the runaway success of 1954, Marcelino, pan y vino (Marcelino, Bread and Wine) (Heredero 1993: 247).
At the start of the film, however, cinematography counters the sensation of claustrophobia. We meet the family as they sleep, and even though there are in some cases four or five children to a room, each child is assigned their own space by the camera through their introduction in medium shot. 22 Often the camera is static, with movement provided by the various family members scurrying in and out of the frame, or backwards and forwards through depth of field, either playing games or attending to domestic chores.
PART I SPANISH POPULAR CINEMA CHAPTER 1 Franco’s Great Family: La gran familia (The Great Family, Palacios 1962) One of the last films to be awarded the ‘National Interest’ prize before José María García Escudero replaced the category in 1964, Fernando Palacios’s consensual comedy La gran familia seemed to contain everything that the promoters of the Nuevo Cine Español considered wrong with the Viejo Cine Español. 1 It was commissioned by Pedro Masó, a scriptwriter and sometime director (he worked on sixty-nine scripts over his long career, including those of La gran familia and La ciudad no es para mí [Chapter 2]), who became one of the most financially successful producers of the 1950s–1970s, working for both Asturias Films and his own company.
A Cinema of Contradiction: Spanish Film in the 1960s by Sally Faulkner