By Sally Faulkner

"This is a wonderful examine of a few of the main attention-grabbing motion pictures made in Spain within the Sixties. Sally Faulkner's based research attracts recognition to missed in addition to extra wide-spread motion pictures in a interval of transition. The publication is an important contribution to our knowing of Sixties Spanish cinema, in its renowned in addition to art-movie traditions." Peter Evans, Queen Mary, collage of LondonA key decade in global cinema, the Sixties used to be additionally an important period of switch in Spain. A Cinema of Contradiction, the 1st ebook to concentration extensive in this interval in Spain, analyses six movies that replicate and interpret those ameliorations. The coexistence of conventional and glossy values and the timid popularity of restricted swap via 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 activities of Spanish movie historical past, the 'New Spanish Cinema' artwork movies discover contradictions of their material, but are themselves the contradictory items of the state's defense and promoting of movies that have been ideologically against it. A Cinema of Contradiction argues for a brand new analyzing 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 might equally discover contradictions. This publication accordingly unearths the overlaps among paintings and renowned movie within the interval, and argues that we should always see those as complementary instead of opposing components of cinematic job in Spain.Features* the 1st book-length examine of Spanish cinema of the Sixties in English.* contains case experiences of six key movies: l. a. gran familia (The nice Family), l. a. ciudad no es para m? (The City's no longer For Me), Los farsantes (Frauds), los angeles 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.* bargains an in depth research of 1 of the foremost creative hobbies of the Franco dictatorship in Spain, the 'Nuevo Cine Espa?ol' (New Spanish Cinema). (1/1/2007)

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C. 2. Excerpt of the ‘Hallelujah Chorus’ of Georg Friedrich Handel’s Messiah. 3. C. Following this Handel-inspired musical introduction to the great family, there follows a descending scale on strings that links the image of the family in the public space of the church to the introduction of the family in the private space of the home. 12 As the credits roll, we meet each member of the family in medium shot as they sleep (save the parents in the marital bed, whose sleeping arrangements are decorously referred to by the image of their slippers and of their youngest child, the baby, in the cradle by their bed).

Reliable or not, in the interview included on the DVD version of the film released as part of the El País ‘Un País de Cine’ collection in April 2003, Pedro Masó claims that La gran familia played to packed houses in the afternoon showings, but, as it attracted fewer audiences in the evening, it spent only two weeks at a top cinema, but then lasted forty-seven weeks at a secondary one. 6. A third exception was Del rosa . . al amarillo (From Pink to Yellow, Summers 1963). 7. Cine Asesor, a volume that records trade and press information, noted of Saura’s La caza, for instance, that it would attract a select audience interested in ‘el cine de los nuevos valores españoles’ (films about new Spanish values).

It is important that he is seen both at home and at work, as this underscores the parallel between his domestic and public roles: just as the father must provide authority as head of the household and money as breadwinner, so men must lead and work for Spain’s current economic boom (were this a 1940s film, the empire might have been evoked in this context). Indications of a cross-over between these two roles further underscore the indivisibility of the two. For instance, we see the father work on his building plans at home; then we see him accidentally use a baby’s dummy instead of an eraser at work, a comic incident that causes his colleague to recall the time when he delivered a plan wrapped up in nappies!

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