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Guide To The Cinema Of Spain

Author: Marvin D'Lugo
Publisher: Greenwood Publishing Group
ISBN: 9780313294747
Size: 64.72 MB
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The first volume in a new series that historically and critically discusses films, directors, and actors in film industries throughout the world.

Contemporary Spanish Cinema

Author: Barry Jordan
Publisher: Manchester University Press
ISBN: 9780719044137
Size: 42.49 MB
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Contemporary focus, right up to date with material from 1980s and 90s. Wide-ranging analyses of major directors, themes, genres and issues, including historical film, genre cinema, women in film and autonomies.

Historical Dictionary Of Spanish Cinema

Author: Alberto Mira
Publisher: Scarecrow Press
ISBN: 9780810873759
Size: 78.19 MB
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Spanish cinema is emerging as one of the most exciting, fascinating, and special cinemas in the world. Not only are others viewing Spanish films, but they are adopting Spanish producers and Spanish actors as their own. While Spanish cinema has been maturing for a long time and has been producing excellent directors, actors, and films for decades_including during the dark times of the Franco regime_only now is it winning numerous fans not only at home but also abroad. And with directors like Pedro Almod-var, actors and actresses like Javier Bardem and PenZlope Cruz, and films such as Abre los ojos and Alatriste to build upon, the outlook for Spanish Cinema appears brighter than ever. The Historical Dictionary of Spanish Cinema provides a better understanding of the role Spanish cinema has played in film history through a chronology, an introductory essay, a bibliography, and hundreds of cross-referenced dictionary entries on producers, directors, film companies, actors, and films.

Mundos En Palabras

Author: Ángeles Carreres
Publisher: Routledge
ISBN: 1351668013
Size: 15.98 MB
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Mundos en palabras offers advanced students of Spanish a challenging yet practical course in translation from English into Spanish. The course provides students with a well-structured, step-by-step guide to Spanish translation which will enhance and refine their language skills while introducing them to some of the key concepts and debates in translation theory and practice. Each chapter presents a rich variety of practical tasks, supported by concise, focused discussion of key points relating to a particular translation issue or text type. Shorter targeted activities are combined with lengthier translation practice. Throughout the book, learners will find a wealth of material from a range of genres and text types, including literary, expository, persuasive and audiovisual texts. An answer key to activities, as well as supplementary material and Teachers’ Notes are provided in the companion website. The book covers common areas of difficulty including: frequent grammatical errors calques and loan words denotation and connotation idioms linguistic varieties cultural references style and register Suitable both for classroom use and self-study, Mundos en palabras is ideal for advanced undergraduate students of Spanish, and for any advanced learners wishing to acquire translation competence while enhancing their linguistic skills.

Who S Who In Spain 2006 Edition

Author: Who's Who in Italy S. R. L.
Publisher: Who's Who In Italy
ISBN: 9788885246607
Size: 75.26 MB
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Containing thousands of individual biographical profiles along with analyses of careers and currently held posts, this two-volume set contains valuable information for entrepreneurs and managers, international trade executives, financial groups, governments, embassies, and academic institutions throughout the world. This edition includes 3,600 biographical listings and is updated to include the new members elected to the Spanish and European parliaments as well as overviews of political, intellectual, social, and scientific culture in Spain. In addition, 2,100 institutional profiles highlight the objectives, technologies, international reach, and corporate philosophy of each institution listed. Numerous cross-references between individual and corporate profiles provide even more information about Spain's business world.

Demasiado Hetero Para Ser De La Movida Demasiado Queer Para Ser De La Pre Movida Qu Hace Una Chica Como T En Un Sitio Como Este Colomo 1978 Y Pepi Luci Bom Y Otras Chicas Del Mont N Almod Var 1980

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Abstract : Las películas que voy a analizar en este artículo, ¿Qué hace una chica como tú en un sitio como este? (Fernando Colomo, 1978) y Pepi, Luci, Bom y otras chicas del montón (Pedro Almodóvar, 1980), presentan varias similitudes, aunque fueron contextualizadas por la crítica de manera diferente. Estrenadas en el mismo período, por su artificialidad ambas tienen una estética reconocible como 'camp' y tienen como tema central el descubrimiento de 'La Movida' por parte de mujeres de cuarenta años víctimas de la sociedad patriarcal franquista, de la mano de jóvenes participantes del nuevo movimiento. ¿Por qué y qué es lo que hace que dos performances excesivas, que parecen sospechosamente tan familiares, sean contextualizadas de manera tan diferente? Argumentaré que la diferencia en la percepción temporal se basa en las estrategias estéticas que usa cada director al colocar a La Movida en el espacio temporal y ficcional. Los directores difieren en las emociones a las que apelan (el miedo y la alegría), en la estética (el trash, el esperpento, las fantasías que emergen en el género pornográfico y el de horror) y por último en las representaciones de género entre el camp y la identidad queer . The two films I analyse in this article, ¿Qué hace una chica como tú en un sitio como este? (Fernando Colomo, 1978) and Pepi, Luci, Bom y otras chicas del montón (Pedro Almodóvar, 1980) present a number of similarities but have been contextualized by critics in a very different manner. They were both released around the same time, and as a result of their artificiality both share an aesthetic recognizable as 'camp' and have as central theme the discovery of the Spanish Movida by women in their forties, victims of the Francoist patriarchal society, through young men who participate in the Movement. What makes these two excessive performances, which look so suspiciously similar, to be contextualized so differently? I will argue that the difference in the temporal contextualization resides in the aesthetic strategies that each director uses when localizing the Movida in a temporal and fictional space. The directors differ in the emotions to which they appeal (fear and joy), their aesthetic (trash, grotesque, the fantasies that emerge from horror and pornographic genres) and in the representations of gender, between camp and queer identity. This produces dissociation between the films, despite their similarities.

Spanish Film Directors 1950 1985

Author: Ronald Schwartz
Publisher: Scarecrow Pr
Size: 28.71 MB
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Fills a crying need in this inexplicably long-ignored area. Bountifully illustrated, the work is bound to become a standard reference work for anyone interested in cinema from Spain. An invaluable compendium of data not available before to Anglo audiences.