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Copyright of Revista Fotocinema is the property of Revista Fotocinema and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of ESPIRAL: Revista de Docencia e Investigación is the property of Universidad Santo Tomas, Bucaramanga and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Imagofagia is the property of Imagofagia - AsAECA and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Contemporary studies about film adaptations of literary texts face many obstacles when it comes to compare two different media. They either tend to establish how faithful the film adaptation is to its textual source or they consider the literary text as canonical, which as such cannot be transposed to any other form. This contribution aims to cross the borders of adaptation studies and offers an intermediai comparison between the Grimms’ tale Sneewittchen, first published in 1812, and Blancanieves, a black and white silent movie directed by Pablo Berger and released in 2012. Regarding Blancanieves not only as an adaptation of the Grimms’ text(s), but also and above all as a reconfiguration of numerous media forms (film, photography, opera, among others), reveals how the Spanish director differentiates himself from the German tale and creates a new story with renewed meanings which echo the current social, economical and political situation of Spain. [ABSTRACT FROM AUTHOR]

This paper explores the representation of food in Manuel Gutiérrez Aragón’s film Half of Heaven (Spain, 1986) and Silvio Caiozzi’s The Moon in the Mirror (Chile, 1990) as it depicts the political transition from dictatorship to democracy in Spain and Chile. While the Spanish transition was initiated with Francisco Franco’s death in 1975, and the Chilean transition with Augusto Pinochet supposedly stepping down in 1989, in both cases the dictatorial power structures ensured that such a shift in political ideology did not come into effect overnight. As a result, well after Franco’s death and Pinochet’s defeat, the regimes’ institutions remained in place. With this political context in mind, food features prominently as a metaphorical representation of the complex power struggles and political shifts that were occurring in these two countries at this time. In this way, the relationship of food—presented as either good or bad, edible or contaminated—is conflated with character development in such a way that it establishes a new set of semantic networks among characters that illuminates sociocultural dynamics and political debates in transitional Spain and Chile. [ABSTRACT FROM PUBLISHER]

This article offers some reflections on the development of Spanish and Latin-American media studies, especially in English-speaking countries, over the last twenty years focusing on the research of its author. It takes the following fields as its main foci of discussion: journalism, film form, theory, industry, television, institution, internet, Spain/Mexico, crisis, affect and Hispanism. The article ends by suggesting that the future of the discipline lies between the humanities and social sciences in a more sophisticated discussion of fiction content and media form than has hitherto been possible within Hispanism. [ABSTRACT FROM AUTHOR]

This article explores the theoretical writings on cinema and television that were published in the underground media promoted by the Partido Comunista de España (PCE, Communist Party of Spain) and in a series of bulletins edited by workers' commissions devoted to the audio-visual sector. This research takes the 1st International Symposium on Film Schools as a starting point and ends in 1977, when the PCE was legalized in Spain. [ABSTRACT FROM AUTHOR]

The purpose of this study is to analyze the social construction derived from research on Film Studies in Spain in the period 1976-2007 using data extracted from the theses produced in this area. The methodology used was Social Network Analysis. Hence, two major criteria have been taken into account; the reticular composition of the panel of academics and the importance of the scholars in the network. Fixedterm networks have been created in order to study the different periods, the main social groups, and their evolution. Networks of selection of committee members per supervisor and University were also generated. Data was extracted from Spanish theses' database TESEO. Results confirm the existence of different groups generating scientific output. Most of them are related to Faculties on Communication Studies, although there are also groups in areas such as Philology, Arts or History. [ABSTRACT FROM AUTHOR]

This article analyzes one of the most representative practices of the EOC -Luciano (Claudio Guerín Hill, 1964-1965)- from both a historical and textual point of view. In addition, the film's analysis and the reconstruction of the professional and academic path of Guerín Hill allows us to call attention to a variety of synergies (institutional, professional and discoursive) that were established between TVE and the most important school of film that has ever existed in Spain: the IIEC-EOC (1947-1976). [ABSTRACT FROM AUTHOR]

Despite the strict regulations that prohibited the representation of 'all forms of sexual perversion [...] including homosexuality' (Article 3, Norms of Censorship 1963), a number of Spanish films of the 1960s managed to include gay characters, thus developing pioneering portrayals of homosexual men, unusual even in other industries of the time. This article studies the little-known representation of the homosexual as a sad man in Spanish film narratives. After revealing the presence of these characters in a number of popular films, it focuses on Luis Delgado's Diferente (1962). It argues that these representations, which have been exceptional in Spanish queer culture, deserve to be included within a longer western narrative tradition of homosexuality as a blameworthy tragedy. In order to do so, I refer to Richard Dyer's work on the construction of the stereotype of the homosexual as a sad man. [ABSTRACT FROM AUTHOR]

Se presenta una entrevista con el doctor Juan José Muñoz, miembro del Círculo de Escritores Cinematográficos y profesor de Antropología en la Universidad San Pablo-CEU de Madrid. Según él, el cine es el principal antropólogo de nuestro tiempo pues a través de las películas, la gente aprende las historias de otros seres humanos. Sin embargo, la gente no está consciente de este aprendizaje.

Even if film studies have occupied an important place in Dutch universities since the 1990s, research and education are strongly dominated by television and new media. Within the context of the Netherlands and rather than discussing cinephilia in a traditional manner, I will develop in this article the concept of «migrating cinephilia» in Dutch or European research and education. I will also describe the increasing attention now being paid to Spanish films in programmes concerning European cinema. [ABSTRACT FROM AUTHOR]

The article proposes a teaching model developed to harness film's ability to communicate cultural descriptions and to maximize this ability using a comparative analytical classroom praxis which help students develop critical thinking and discursive abilities. The proposed model is a comparison of two Spanish films both made in 1952 which have opposing views of a particular issue: Luis García Berlanga's "iBienvenido, Mr Marshall!" and Eduardo Manzanos' "El andén."

Copyright of Canadian Journal of Film Studies is the property of University of Toronto Press and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article analyses three Spanish films made during the 1990's by three male filmmakers: ‘ Ay, Carmela’ (1990) by Carlos Saura, Land and Freedom, (1995) by Ken Loach and Libertarias, (1996) by Vicente Aranda. The three films are set during the Spanish Civil War and are concerned with the rewriting of recent Spanish history. The article focuses on the representation of female characters in these films. The three films echo the rapidly changing roles of women in Republican Spain in 1937–38 and they attempt to portray female characters as subjects and not objects. Nonetheless, this article argues that not all three films succeed in depicting women as discourse-mastering subjects: while Loach only uses the female characters as an instrument to document Spanish history, Aranda further places gender issues at the heart of his film. However, it is Saura who actually manages to represent a strong and independent female character as a subject with a discourse of her own. [ABSTRACT FROM AUTHOR]

Spain—the most fertile society in Europe in the early 1970s—now has the lowest birth rate in the world and this fact is the origin of new debates around women's role in production and reproduction, a debate that transcends the strictly personal to acquire new social and political dimension. In such a charged pronatalist social context, contemporary Spanish cinema seems to support this call to maternity—often in no innocent terms. Through the analysis of five movies, this essay studies the ramifications—in contemporary Spanish cinema—of the discourse of maternity and its social implications. First, by examining the self-sacrificing "angel" mother paradigm and its underside, namely the evil, self-satisfying mother, the essay explores how both Benito Zambrano's "Solas" and Azucena Rodriguez's "Puede ser divertido" envision motherhood as the way for women's fulfillment and as the solution to women's problems; second, through the analysis of Javier Fesser's "El milagro de P. Tinto" and PilarTavora's "Yerma," it addresses the confusion between sexual and maternal desires, a confusion that shapes the maternal paradigm of asexuality; and thirdly, by focusing on Almodovar's "Todo sobre mi madre," it reflects upon the dynamics of absorption of the concept of womanhood into the category of maternity. [ABSTRACT FROM AUTHOR]