Spanish Cinema in the Global Context Film on Film [Hardcover]

Across a broad spectrum of media, markets, and national contexts, self-reflexivity continues to be a favored narrative mode with wide ranging functions. In this book Amago argues that, in addition to making visible industry and production concerns within the film text, reflexive aesthetics have a cartographic function that serves to map the place of a film (geographic and cultural) within the global cinemascape, and thus to bring into sharper relief images of the national. Focusing on films in the contemporary Spanish context that in some way reflect back on themselves and the processes of their own production, that purposefully blur the distinction between reality and fiction, or that draw attention to the various modes of cinematic exhibition and reception, Amago proposes ways in which these movies can be employed to understand Spanish national cinemas today as imbedded within a dynamic global system.

Introduction  Part 1: Art, Commerce, and Reflexivity  in Contemporary Spanish Cinema  1. Historical Reflection and National Allegory in La mala educaci?n ( Bad Education ) (Pedro Almod?var, 2004) and Los abrazos rotos( Broken Embraces ) (Pedro Almod?var, 2009)  2. Mapping the Global Popular in 800 balas( 800 Bullets ) (?lex de la Iglesia, 2002) and Hot Fuzz (Edgar Wright, 2007)  3. Reflexivity as Media Critique in Tesis( Thesis ) (Alejandro Amen?bar, 1996)  Part 2: Spanish National Histories on Film  4. Processing the Past in Soldados de Salamina( Soldiers of Salamis ) (David Trueba, 2003)  5. The Ends of Historical Memory in Pa negre( Black Bread ) (Agust? Villaronga, 2010)  6. Migration and Meta-melodrama in Poniente( West ) (Chus Guti?rrez, 2002) andUn Franco, 14 pesetas ( One Franc, 14 Pesetas ) (Carlos Iglesias, 2006)&nlc