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Throughout this article, we analyze the stereotypes established in Western cinematographic discourse at the beginning of cinema, and their evolution in films that portray women from minority ethnic groups. The presence of racialized women in the film industry and the recognition granted by cultural agents is also examined. The demands, the raising of social awareness, the valorization of the differences shown in film works have stimulated the integration -not without setbacks-of minority groups in film productions and in the dominant culture. [ABSTRACT FROM AUTHOR]

Copyright of Pasado y Memoria. Revista de Historia Contemporánea is the property of Pasado y Memoria 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 Ler Historia is the property of Ler Historia 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.)

In 1982 the Spanish Socialist Workers' Party (PSOE) came to power and put into place an ambitious cultural policy that had a considerable effect on the film industry. In 1983 the so-called "Miró Decree" was enacted. It offered generous measures to promote film production and establish a solid framework for the industry. At the same time, regional governments issued laws to boost the cinema. Both initiatives enabled debut directors to make more committed and personal films. Our work analyses the impact of this legislation on the films that addressed the dramatic theme of ETA terrorism; films that could be made thanks to committed support from central and regional governments. It also looks into how these projects were accepted by Spanish society. The films share common elements such as the way the directors distance themselves from displaying a heroic image of terrorists or a one-dimensional point of view on the Spanish police, while passing judgement on the social and economical crisis that coincided with the beginning of the Transition to democracy. Only four out of the twelve films shot during those six years did well at the box office, tripling their official costs. The rest did not elicit much audience interest, although they paved the way for a new generation of film directors and also established to some extent firmer foundations for the film industry, as was the goal of the Decree. [ABSTRACT FROM AUTHOR]

Copyright of Historia y Politica: Ideas, Procesos y Movimientos Sociales is the property of Departamento De Historia del Pensamiento y de los Moviemientos Sociales y Politicos (Madrid) 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.)