By Tatjana Pavloviæ, Inmaculada Alvarez, Rosana Blanco-Cano, Anitra Grisales, Alejandra Osorio, Alejandra Sánchez
A hundred Years of Spanish Cinema presents an in-depth examine crucial activities, motion pictures, and administrators of twentieth-century Spain from the silent period to the current day. A thesaurus of movie phrases presents definitions of crucial technical, aesthetic, and historic termsFeatures a visible portfolio illustrating key issues of a number of the movies analyzedIncludes a transparent, concise timeline to aid scholars fast position movies and genres in Spain’s political, not pricey, and old contextsDiscusses over 20 motion pictures together with Amor Que Mata, Un Chien Andalou, Viridana, El Verdugo, El Crimen de Cuenca, and Pepi, Luci, Born
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Qxd 08/08/2008 15:09 Page 15 Silent Cinema and its Pioneers (1906–1930) 15 silent films. Furthermore, film actors maintained theater’s interpretive conventions, such as exaggerated and melodramatic gesturing. Given the cautious production policies, the cinematic production of this era is limited to films with few pretenses and low budgets, like comedies, fantasies, or documentaries. The three films analyzed in this section are also inscribed within a period of Spanish film history that several film historians define as a “prolonged pioneer phase,” covering the years between 1897 and 1913 (Pérez Perucha, “Narración de un aciago destino (1896–1930),” p.
More time passes and the couple reunite in Luján, the cursed town of the title, where Acacia, finally forgiven by Juan, returns to be with her son. Critical commentary Considered a masterpiece of Florián Rey, the director, and Spain’s final era of silent film, La aldea maldita is an “involuntary document of the customs, female condition, and moral conservatism of agrarian Spain” (Gubern, “1930–1936 (II República),” p. 94). The film explores the themes of urban migration, poverty, and the clash between tradition and modernity.
He became a Mexican citizen, along with his wife, Jeanne Rucar, and their two children. In this context Buñuel’s personal nomadism was transposed to what Marsha Kinder termed a “nomadic discourse” (“The Nomadic Discourse of Luis Buñuel: A Rambling Overview”), potentiated by his exile and displacement. Buñuel’s films, reflecting his existence in such diverse and complex cultural milieus, are cinematic and aesthetic hybrids. qxd 08/08/2008 15:10 Page 38 38 Surrealism (1924–1930) and Sound (1931–1936) In 1950 Buñuel filmed Los olvidados, his Mexican masterpiece on poverty-stricken, marginalized street children, and won the award for Best Director at the Cannes Film Festival.
100 Years of Spanish Cinema by Tatjana Pavloviæ, Inmaculada Alvarez, Rosana Blanco-Cano, Anitra Grisales, Alejandra Osorio, Alejandra Sánchez