A spouse to Spanish Cinema is a daring number of newly commissioned essays written by means of best foreign students that completely interrogates Spanish cinema from quite a few thematic, theoretical and historical perspectives.
Presents an insightful and provocative selection of newly commissioned essays and unique learn via best overseas students from a number of theoretical, disciplinary and geographical views
Offers a scientific old, thematic, and theoretical method of Spanish cinema, precise within the field
Combines a radical and insightful examine of a large spectrum of themes and concerns with in-depth textual research of particular films
Explores Spanish cinema’s cultural, creative, business, theoretical and advertisement contexts pre- and post-1975 and the concept of a “national” cinema
Canonical administrators and stars are tested along understudied administrators, screenwriters, editors, and secondary actors
Presents unique learn on photograph and sound; style; non-fiction movie; associations, audiences and undefined; and family to different media, in addition to a theoretically-driven part designed to stimulate cutting edge study
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Extra resources for A Companion to Spanish Cinema
121 In 1910, animation film pioneer Émile Cohl drew and shot Le Binettoscope (Mug-o-scope) (Figure 4), a short showing a page with the letters of the alphabet, each of which is progressively transformed into a still human face, before all the faces come to life in the last frames. Both the letters and the faces are drawn graffito style, which suggests that the animation of writing involved the street and ephemera: when Chaplin’s hand signs his name on the credit of his Shoulder Arms (1918), he does so with chalk for a similar reason.
His thesis is that consciousness as an imagining flow may be either real (via percepts or percept-related concepts within duration) or unreal (as an imagining flow of representations removed from duration), but that it is free only when real. Hence Bergsonian duration alone vouchsafes freedom. The imagining flow of the dream presents him with an antinomy, since it must be deemed real even though the dreamer is not free. He resolves it by insisting that a dream is not similar to how “the projection of a film shot faster gives us the impression of ‘slow-motion,’”83 since in that case there would a secondary duration.
In it, the hero Nathanael falls prey to a deadly series of phantasms, misperceptions, conspiracies, and trickeries precisely due to the blurring of boundaries between the psychic and the technological. Literary criticism has resisted correlating—not to mention establishing direct causality between—modernity’s mediated and technologized experience, and mutations in the postromantic imagination of poetry. Yet there is no a priori reason to believe that technologies such as photography and cinema damage or supplant the imagination in any way, rather than displacing, reterritorializing, reactivating, or expanding it.
A Companion to Spanish Cinema