By Joan Ramon Resina (ed.), Andrés Lema-Hincapié (ed.)
From the origins of the recent Spanish Cinema within the Nineteen Fifties to the top of the final century, Burning Darkness beneficial properties essays on a range of crucial motion pictures by means of Spain’s most crucial administrators, together with Pedro Almodóvar, Luis Buñuel, Víctor Erice, Ventura Pons, and others. members specialise in present theoretical debates and problems with illustration, politics, cultural id, and aesthetics. instead of traditionally surveying Spanish motion pictures, the e-book encourages a deep analyzing of those crucial works and the methods they solid gentle on particular features of Spanish society and its contemporary heritage. Accessibly written, it is going to allure not just to scholars and students but additionally to an individual drawn to Spanish cinema.
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Extra info for Burning Darkness: A Half Century of Spanish Cinema
Juan’s moral revolution, which is an internal turbulence, is also expressed with a tracking shot in the university stadium scene with Matilde. But while Rafa produces changes in others, Juan changes from within himself. In spite of the fact that the extreme close-up is never used with María José, one close-up deserves attention. According to Bardem’s script, María José crashes her car “against a rocky slope” (Guión 127), but in the ﬁnal ﬁlm version her car falls from a bridge—a solution that permits Bardem to be more implacable in his treatment of María José, whose life ends in a violent and inexorable decline captured by the ﬁlm’s only inverted close-up.
Rehearsing for Modernity 23 The desired advent of American dollars in Villar del Río provokes a fantasized modernity, which enters the villagers’ dreams the night before the supposed arrival of the Americans. ” If fantasy is the mise-en-scène of desire, then this is certainly one of ﬁlm history’s favored moments. S. cultural imperialism, demonstrating that Villar del Río’s citizen-spectators do not consume unconditionally the American movies fed to them. Don Pablo’s dream is exemplary: in his imagination he performs as the cowboy/sheriff star of his preferred ﬁlm genre, the Western.
According to Joan Ramon Resina, “the NO-DO was the Francoist version of the German Wochenrundschau. ” I think that that is what Juan is watching, so in this manner the complicity of Juan’s family with the regime is accentuated. Appearing in the NO-DO is proof of the family’s integration in the upper echelons of the regime (“Re: NO-DO”). 8. In Camus’ existentialism, the term conscience no longer has Christian echoes. In Bardem’s ﬁlm and script, it still does (see Guión 93, 117). 9. Does Bardem not do the same in his ﬁlm and in his script?
Burning Darkness: A Half Century of Spanish Cinema by Joan Ramon Resina (ed.), Andrés Lema-Hincapié (ed.)