By Sally Faulkner
"This is a wonderful examine of a few of the main fascinating motion pictures made in Spain within the Sixties. Sally Faulkner's dependent research attracts awareness to missed in addition to extra prevalent motion pictures in a interval of transition. The publication is an important contribution to our realizing of Nineteen 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 Sixties was once additionally a vital period of switch in Spain. A Cinema of Contradiction, the 1st booklet to concentration intensive in this interval in Spain, analyses six motion pictures that replicate and interpret those modifications. The coexistence of conventional and smooth values and the timid recognition of restricted swap by way of Franco's authoritarian regime are indicators of the asymmetric modernity that characterises the interval. Contradiction - the unavoidable impression of that unevenness - is the conceptual terrain explored through those six filmmakers. the most major hobbies of Spanish movie historical past, the 'New Spanish Cinema' artwork movies 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 examining of the circulate as a compromised but still powerful cinema of critique. It additionally demonstrates the prospective contestatory worth of well known motion pictures of the period, suggesting that they could equally discover contradictions. This publication as a result unearths the overlaps among artwork and well known 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 learn of Spanish cinema of the Sixties in English.* comprises case reviews of six key motion pictures: los angeles gran familia (The nice Family), los angeles 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 renowned cinema of the period.* deals an in depth research of 1 of the most important inventive pursuits of the Franco dictatorship in Spain, the 'Nuevo Cine Espa?ol' (New Spanish Cinema). (1/1/2007)
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Additional info for A Cinema of Contradiction: Spanish Film in the 1960s
8 The only exterior shots of recognisable city landmarks are associated with male adult family members; in keeping with her role as an angel of the hearth, the only public spaces in which the mother is seen are the covered market, where she buys food for the family, and the department store, where she chooses a first communion dress and sailor’s outfit. The father is associated with contemporary, modernising Spain when he visits a building site on the Paseo de la Castellana,9 and the grandpa is connected to traditional Spain when he goes Christmas shopping in the Plaza Mayor, which is emblematic of Madrid’s Habsburg architecture.
In other words, the film proposes that in Franco’s Spain, the only contact needed in the outside world is heaven – an ironic contrast with the military, business and political ties the regime sought with the West at the time. In the context of this discourse of claustrophobia and entrapment, we might re-examine the script and mise en scène. The father’s previously mentioned reference to the flat as the Bernabéu stadium might be reconsidered in this light as an ironic comment on its cramped nature.
La gran familia was a popular film in terms of its production contexts, but not in terms of audience attendance: according to the figures discussed in my Introduction, it attracted a smaller audience than any of the apparently ‘minority’ NCE films I discuss in Part II. Masó aimed to make his money from subsidy, not the box office, in this film; in this endeavour, La gran familia, the first film backed by his own company (Hernández Ruiz 1997: 516), was a resounding success. Its celebration of the conservative ideology that underpinned Francoism, attractively packaged as light, or ‘white’, family comedy,2 and supported by popular stars, pushed all the right buttons on the classification board, which awarded it the coveted subsidy.
A Cinema of Contradiction: Spanish Film in the 1960s by Sally Faulkner