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 events, movies, and administrators of twentieth-century Spain from the silent period to the current day. A word list of movie phrases offers definitions of crucial technical, aesthetic, and ancient termsFeatures a visible portfolio illustrating key issues of a number of the movies analyzedIncludes a transparent, concise timeline to aid scholars fast position motion pictures and genres in Spain’s political, low cost, 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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In contrast, the Republicans sought political legitimacy through their plea for democracy against (inter)national fascism and against Franco’s troops as illegitimate usurpers of the political order. Winning the military conflict at home and securing political legitimization abroad was a principal aim of both Republicans and Nationalists. It is therefore not surprising that documentaries, propaganda films, and newsreel shorts became the dominant genres of wartime cinematographic production. ”28 Feature films were still produced, but their numbers radically declined, especially in comparison to the commercial and artistic vitality of the previous Golden Age of Spanish cinema (1935–6).
Qxd 08/08/2008 15:09 Page 16 16 Silent Cinema and its Pioneers (1906–1930) Synopsis A humble peasant family, including Juan de Castilla, a farm worker, his wife Acacia, their young son, and Juan’s father Martín, lives in Luján, a small Castilian town. Due to bad weather, the town loses its crops and the majority of the inhabitants flee in hunger, looking for work in other places. Juan is taken to jail after an altercation with Uncle Lucas, the town loan shark. Magdalena, the family’s neighbor, convinces Acacia to look for work in a nearby city, Segovia, where she becomes a prostitute.
Fructuós Gelabert was one of the most prolific and commercial directors and made other famous film adaptations such as Tierra baja, María Rosa, and the musical La Dolores, based on a celebrated zarzuela. Don Pedro el Cruel also illustrates how national history was a thematic source for film during this initial period. These early films suggest that the politics of production took few risks; the priority at that time was commercial success, to the detriment of filmic creativity. Aesthetically, early Spanish film did not stray very far from the forms of its dramatic precursor, theater.
100 Years of Spanish Cinema by Tatjana Pavloviæ, Inmaculada Alvarez, Rosana Blanco-Cano, Anitra Grisales, Alejandra Osorio, Alejandra Sánchez