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From a strategic point of view, the audiovisual sector is a key factor in the economic and cultural development of a country and a decisive factor in the promotion of the country's brand abroad (cf. Tribaldos Macía, 2013). To this end, in 2021 the Spanish government presented the Spanish Audiovisual Hub and in 2023 a series of measures were launched to promote the internationalisation of the sector. It is in this context that this research is presented, focusing on the analysis of the digital presence of the main Spanish film production companies, with the aim of observing their communication strategies to promote their products and, therefore, the Spanish audiovisual sector. [ABSTRACT FROM AUTHOR]

This article aims to study how historical documentaries handle the development of a tale. The initial premise is that documentaries are not a mere compilation and recounting of data but rather a narration constructed based on the perspective of the audiovisual language. To understand how filmmakers create the story, we studied documentary feature-length films on the Spanish Civil War between 2000 and 2014. The sequence has been taken as the unit of analysis, and a breakdown has been made of the types of images and sounds used according to duration, order, and predominance of plot or characters. The research bears on the concept of narrative strategy, which helps to understand the format's internal mechanism, considering three issues: the production approach, the visual solution, and the narrative decision. The study of the selected corpus detected eleven narrative strategies-eleven ways to portray the same event from the past, with different purposes and intentions. [ABSTRACT FROM AUTHOR]

In the present article, L'Arbre de Guernica (Fernando Arrabal, 1975) is analysed. The aim of this paper is to study the suitability of an experimental film as a representation of the past. In the first part, I analyse its aesthetics, following the research developed by authors such as González, Monreal or Sánchez, who have studied Arrabal's Panic Theatre. The goal of this subchapter is to apply the traits of his theatre to his cinema – which has been scarcely studied—, in order to conclude whether his films can also be considered as part of his panic creations or not. In this part, the concept of the 'Panic Ceremony' will be crucial to understand the logic of the film. The second part delves into historical film studies. Following the works of post-modern historians such as Rosenstone, White or Ferro, I study if the film works not only as a panic film, but also as a valuable experimental historical film. I conclude that L'Arbre de Guernica can be understood as a panic creation, in which the Panic Ceremony is crucial for its representation of the past, thus successfully working as an experimental historical film. [ABSTRACT FROM AUTHOR]

The film industry remains a male-dominated sector, particularly in managerial, creative, and technical positions. In this context, we explore the work of female directors in Spanish cinema concerning ETA terrorism (1977-2023) to observe and assess the contribution of women in a doubly masculine environment: film direction and terrorist violence. Within the framework of the so-called “battle of the narrative” and film and gender studies, and based on a qualitative methodology involving textual analysis of feature films and the study of existing literature, we trace the presence and voice of female directors. We investigate who they are, their number, and their contribution to cinema concerning ETA and Spanish cinema in general. We examine the stories, genres, and themes they choose and the perspectives from which they approach them. We consider both the form and contextual issues related to the production and reception of their works. The results show that female directors are a minority in films about terrorism in Euskadi. We conclude that their work can be seen as a disruption in an adverse environment. They prefer genres such as drama or documentary, focus on a human perspective, several depict real or based-on-true-events stories featuring strong, free female protagonists, and several works approach the stories of victims. They feature characters, predominantly female, who defy stereotypes. Overall, they contribute to the memory of past events with a critical view of violence. [ABSTRACT FROM AUTHOR]

Copyright of Revista Estudos Feministas is the property of Revista Estudos Feministas 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 Doxa Comunicación is the property of Fundacion Universitaria San Pablo - CEU 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 Doxa Comunicación is the property of Fundacion Universitaria San Pablo - CEU 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 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.)

The Spanish process of addressing Euskadi Ta Askatasuna's (ETA) violent past has not followed a single transitional justice model or established a truth commission akin to those in South Africa, Latin America or Eastern and Central Europe. Instead, the case of Spain is marked by diverse legal, political and civic endeavours, sparking distinct discussions and artistic depictions regarding the dialectic between justice, forgiveness and reconciliation when addressing past crimes. By drawing on Hannah Arendt's influential perspective on reconciliation and its critiques (in particular, by Jacques Derrida), this article combines philosophy and film studies to contribute to the interpretation of Icíar Bollaín's recent film, Maixabel (2021). The film explores real-life instances of reconciliatory transformation that were part of the short-lived 'reparatory encounters' between ETA criminals and their victims. Bollaín's realist directorial intent notwithstanding, the significance of the encounters and reparatory justice leading to personal healing and social reconciliation is not self-evident but a matter of debate and legitimately different standpoints and experiences. This article sheds light on the hidden cracks of the cinematic mirror of the reparatory encounters by analysing the directorial intent, Maixabel, and Maixabel Lasa's testimony, the key inspiration for the movie. Bollaín's understanding of her film and the reparatory encounters echoes the Arendtian vision in that it separates reconciliation from forgiveness. In contrast, the film, and the real-life Maixabel Lasa's self-understanding, construct alternative views of reparatory reconciliation that embrace both public and personal acts of forgiveness. This leads to a phenomenologically richer depiction of reconciliation, forgiveness and transitional justice, one that does not conform to the rigid constraints of philosophical prescriptivism. [ABSTRACT FROM AUTHOR]

This article focuses on the Spanish films La niña de tus sueños (Jesús R. Delgado, 1995), Cachorro (Miguel Albaladejo, 2004) and Estiu 1993 (Carla Simon, 2017), which revolve around characters with HIV/AIDS. In these films, innocence and youth are often highlighted through children and adolescents who live with and next to HIV. Such a move serves to legitimize these cases of HIV and AIDS, which are marked as exceptional cases through their innocence and thus escape the feedback loop of disease and impending death that categorizes popular thinking on the illness. By highlighting these representations of children and HIV/AIDS, this article argues that the coupling of guilt, innocence and illness allows audiences and a larger public in Spain to inhabit a sanitized version of history and ignore the messy complexities of living through and with the HIV/AIDS pandemic. [ABSTRACT FROM AUTHOR]

The horror franchise [Rec] (2007-2014) is one of the most remarkable accomplishments in 21st century Spanish cinema. While banking on transnational modes of address such as the 'found footage' aesthetics and the imperfect look of digital technology, these films also build upon existing traditions within Spanish cinema and television. At the same, from an financial standpoint, it is the most successful Spanish franchise ever in the international arena while obtaining sizeable box-office receipts in the domestic market. This article analyzes how the [Rec] saga deploys a variety of discourses to appeal to horror aficionados while utilizing popular cultural artifacts to engage national audiences. Firstly, it situates [Rec] within the history of recent Spanish cinema, scrutinizing the generic hybridity at the core of several post-1990 national film products to ultimately study how this interplay will turn central in the constant re-articulation of the franchise. Secondly, it positions [Rec] within the transnational rise of the 'found footage' horror subgenre, contextualizing it by analyzing other significant efforts such as The Blair Witch Project. Thirdly, it explores this transnational dimension through a detailed analysis of the different films's marketing campaigns and how they relate to other products like Quarantine (2008), US remake of the first Spanish film. In this regard, it approaches how [Rec] conceptualizes film spectators as Internet, socially networked, users who participate in diverse, complementary, discourses across multiple online platforms. [ABSTRACT FROM AUTHOR]

Copyright of Área Abierta is the property of Universidad Complutense de 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.)

The main objective of this article is to analyze the visual codes and the diegetic universe manifested in the film noir of the film director Alberto Rodríguez in order to find out if in his procedures there is a will to resemanticize the genre. For this purpose, a methodological tool has been created that combines image theory, filmic narrative and script theory, focusing mainly on the analysis of characters and spaces. The chosen sample is circumscribed to the director's last four films: Grupo 7 (2012), La isla mínima (2014), El hombre de las mil caras (2016) and Modelo 77 (2022). After the analysis and discussion of the data, it is concluded that Alberto Rodríguez's cinema represents a return to the standards of the classic film noir genre, but updating codes and adapting it to the interests of the director, who focuses on posing questions to the viewer about the reality of his country regarding issues of dubious morality. In this way, Alberto Rodriguez's work is revealed as a paradigm of Spanish Neonoir, which returns to basic patterns to connect with the viewer and stir his conscience. [ABSTRACT FROM AUTHOR]

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.)

This work aims to identify and propose a functional pipeline for indie live-action films using Virtual Production with photorealistic real-time rendering game engines. The new production landscape is radically changing how movies and shows are made. Those were made in a linear pipeline, and now filmmakers can execute multiple tasks in a parallel mode using real-time renderers with high potential for different types of productions. Four interviews of professionals in the Spanish film and television market were conducted to obtain the whole perspective of the new paradigm. Following those examples, a virtual production set was implemented with an Antilatency tracking system, Unreal Engine (version 5.3), and Aximmetry (version 2023.3.2) as the leading software applications. Results are commented on, presenting how all the work is currently closely connected between pre-production, shooting, and post-production and analyzing its potential in different fields. [ABSTRACT FROM AUTHOR]

Copyright of Papeles del CEIC is the property of Centro de Estudios sobra la Identidad Colectiva, Facultas de Ciencias Sociales 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 paper explores the Spanish film industry to analyze the evolution of Spanish movie theater revenues up to December 2021 using both aggregated and disaggregated data by area of origin. Based on fractional integration methods, the results showed a change in persistence in the series as a result of the Covid-19 pandemic. Lower degrees of persistence are observed in the aggregated data and in the series related with the US, implying shorter effects of shocks in these cases. Nevertheless, a substantial increase in persistence after the Covid-19 is observed in all series. [ABSTRACT FROM AUTHOR]

The actor and filmmaker Fernando Fernán-Gómez embodies like few others the reflection on aging in contemporary Spanish cinema. His stage of creative maturity coincides with the arrival and consolidation of democracy in Spain after the death of dictator Francisco Franco. In his films, Fernán-Gómez carries out a systematic analysis of the role of older people in Western society, who move in the conflict between the marginalized role to which they are relegated and the resistance to remain on the sidelines. In this article, we will analyze the three most significant films in this regard. The first of them, Mambrú se fue a la guerra (Citation1986), shows us the violence of a social system that condemns an ex-combatant of the civil war to grow old hidden in his own house for fear of Franco’s reprisals, as well as the convenience of not coming out of hiding when democracy arrives in order to benefit from the subsidies. In the second, El viaje a ninguna parte (Citation1986), the patriarch of a traveling theater company refuses to succumb to a profession that many consider a mere echo of the past. And in the last one, El mar y el tiempo (Citation1989), Fernán-Gómez focuses on the figure of the exile who returns after decades to his country of origin. These three films, made consecutively, represent a triptych that shows the different aspects of the difficult way in which society assumes older people once they are no longer considered useful and productive. [ABSTRACT FROM AUTHOR]

Older men’s sexualities have recurrently been defined as either “asexual” or “in decline.” Their sexualities, when/if represented at all, have also been associated with the “dirty old man” stereotype, which has depicted sex in old age as both unpalatable and grotesque. Delving into these (mis)representations, this article offers an overview of representations of older men’s sexual lives in contemporary Spanish cinema and TV series, which seem to reify but also challenge such stereotypes. Thus, for example, both the classic film El abuelo by José Luis Garci and the highly acclaimed animation movie Arrugas by Ignacio Ferreras, based on Paco Plaza’s graphic novel of the same title, present the older men in an old people’s home as eminently asexual, while the TV series Crematorio, based on Rafael Chirbes’ homonymous novel, focuses on the relationship between an aging (heterosexual) man and a younger woman, which thus seems to reinforce the traditional “dirty old man” stereotype. Yet Salvador Calvo’s “El trasplante,” one of the episodes of the recent remake of Chicho Ibáñez-Serrador’s well-known horror TV series Historias para no dormir, appears to turn the stereotype upside down, featuring a dystopian story of an older woman who grows increasingly apart from her suddenly rejuvenated lifelong husband. Movies such as En la ciudad sin límites, on the other hand, question rigid (hetero)sexual binaries as the dying older male protagonist, a supposedly straight husband and father, is finally revealed as bisexual, while Eloy de la Iglesia’s Los novios búlgaros depicts a middle-aged man’s attachment to a younger boy, who ends up marrying his girlfriend. Using the character of Salvador Mallo as his alter-ego, Pedro Almodóvar’s (semi-)autobiographical Pain and Glory also focuses on gay aging, redefining it as a queer” rather than linear or “straight” temporal experience (Halberstam), while one of the latest Spanish horror films, Malasaña 32, revolves around a house inhabited by a ghost whose traumatic past as a transgender person living under the Francoist regime comes back to haunt the present. Whilst exploring a number of selected films and TV series that seem to conform to conventional images of older men’s sexual lives, this article will thus include alternative film representations that also undermine such limited and limiting images, thereby redefining aging men’s sexualities on the contemporary Spanish screen as much more complex and plural than has been acknowledged. [ABSTRACT FROM AUTHOR]

This document explores the representation of aging men and masculinities in contemporary Spanish cinemas and audiovisual industries. It emphasizes the need for more nuanced perspectives on aging men and challenges stereotypes and ageism. The document discusses the portrayal of aging male actors, representations of older men's sexualities, and the works of filmmakers who explore aging masculinities. It also touches on the representation of aging masculinities in Galician narco noir films and television series. The document acknowledges that it is not a comprehensive study but aims to spark new discussions on the topic. [Extracted from the article]

Environmental drama film Cenizas del cielo (2008), set in a polluted area of the otherwise idyllic North-western region of Asturias, was internationally saluted as Spain’s first explicitly ecologist film. While most studies have focused on its environmentalist theme, the film presents additional thematic complexities, such as the progressive depopulation of fast-aging rural Spain, the challenges of growing old as a lonesome man in a traditional, patriarchal community, and generational frictions between older peasants and younger environmental activists. In Cenizas del cielo, Galician-born actor Celso Bugallo embodies the complex intersections between aging, masculinity, and ecology. He plays the combative character of Federico, a local farmer in his sixties who lost his wife to the pollutants of a nearby power plant. In his determination to see the plant closed, this rebellious character clashes with numerous opponents, such as workers of the power plant, local authorities and even some of his own small-village neighbors. A living metaphor of an aging but defiant España vaciada, Bugallo’s character is studied in this paper as the site of multiple insurgencies. [ABSTRACT FROM AUTHOR]

The article focuses on recent scholarly works concerning the history of Spanish cinema, highlighting a doctoral thesis exploring the roles of female stars during the early Franco regime, a monograph on director Jorge Grau, and two new studies analyzing the evolution of Spanish popular comedy and its socio-political implications. These publications delve into various aspects of Spanish film history, including the cultural significance of film stars, the aesthetic value of Grau's cinematic oeuvre, and the ideological underpinnings of popular comedy genres from the late Franco era to the present day.

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 Historia y Comunicación Social is the property of Universidad Complutense de 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.)

The article focuses on Pedro Almodóvar's retrospective reflection on his filmmaking journey, revealing his self-taught approach due to the closure of Spain's film school during Franco's regime. Topics discussed include the influence of the counterculture, challenges in funding and screening early films, and the evolution of his style from eclectic and postmodern to more contained narratives.

This article unpacks the cultural work that Juan Carlos Medina's Insensibles, released in English as Painless, carries out in relation to Spain's modern history and argues that the film's painless children are an allegory of the country's postdictatorship generations. The rendering of fascism as monstrous is less interesting than the connection of insensitivity to the Pacto del Olvido (Pact of Forgetting) and its suppression of painful memory. The fact that the children speak Catalan is a significant overlooked aspect, because Catalonia was the last region to succumb to Nationalist military forces during the Spanish Civil War (1936-39) and is known for its independentist fervor. A regionalist reading of the film does not simply connect the present and the past; it proposes that the children of the war mediate Spain's current troubled relationship with historical trauma and act as an artistic response to centralist ideas of a unified and stable nation-state. Such a rethinking demonstrates that the horror genre continues to offer a language of anxiety capable of negotiating and contributing to debates around the importance of national accountability, war reparations, and the condemnation of genocide. [ABSTRACT FROM AUTHOR]

This article analyses (self)representations of women filmmakers active in the Swedish and Spanish film industries, looking at how "technologies of gender," as theorised by Teresa de Lauretis, work to resist change within the industry's "gender regimes" (as conceptualised by Raewyn Connell), but are also simultaneously reinvented by women film workers. Even though the gender regimes of Spain and Sweden are quite different, and despite the diversity of positions adopted by women film workers concerning cinema—as art, commodity, and socio-political technology—there are striking similarities in the obstacles faced by women in a male-dominated industry. We identify these similarities in a series of interviews with women filmmakers from both countries. What emerges as shared across both contexts is the ambivalent negotiation that women film workers have to carry out in their self-representations, when entering an industry built around a male norm. But along with these representations marked by the relation to patriarchal technologies of gender, many women creators also search for bottom-up narratives and appropriations of such technologies to construct themselves and their works outside and beyond the androcentric model of the current film industry. [ABSTRACT FROM AUTHOR]

The article presents an interview with Ferrán Alberich, a film restorer in Spain. Alberich explains that his job consists of restoring films and making them available to the public again. He also mentions that he has received the National Film Heritage Award and highlights the importance of arousing people's curiosity about film restoration. Alberich comments on the evolution of film restoration over the years, especially with the arrival of digitization. He also mentions the importance of film libraries in preserving cinema and how the conception of conservation has changed in Spanish film archives. [Extracted from the article]

Movement was introduced as a key element of attraction in the animated images of the late 19th and early 20th centuries, hence the success, the attraction, of early animated images with different dances. The movement of dances of Spanish origin could not be absent from the early filmed repertoire. An account of the views with Spanish dances is carried out, establishing their relationship with the concept of cinema of attractions, basic to understand the history of early cinema. [ABSTRACT FROM AUTHOR]

Spanish horror films set in the late Franco period are a highly successful genre. However, academics have criticised its study, arguing that such films are of low quality. Nevertheless, the genre is a fundamental cultural source for understanding how fiction interacts with a society's fears as it undergoes a profound transformation. This article aims to analyse the ways rituals were represented as allegorical figures of the anxieties and conflicts in the final years of Francisco Franco's dictatorship (1968–1975). On the one hand, we will examine the three main discourses that were instrumental to the founding of monstrous cults based on gender, class and nationalism. On the other hand, we will analyse the intermingling of political violence and modernisation through the performance of rituals. Satanic rituals served as visual metaphors for a reality constructed from the Manichaean vision of Catholicism and the exclusionary nationalism of Francoism imposed through political violence. [ABSTRACT FROM AUTHOR]

This essay examines the display of technological objects, consumer goods, and other materials within the earliest Spanish realist cinema, as well as the manipulation of things in pioneering fantasy films, to reveal how Spanish filmmakers projected the modernity of Spain and thereby addressed foreign objectification of their nation as exotic or different. Through an analysis of several actualities, point-of-view rail films, and factory films produced in Barcelona between 1900 and 1930, as well some key Segundo de Chomón trick films shot in the city, this article shows how this early Barcelona film culture deployed material forms to mark the agency and cosmopolitanism of turn-of-the-century Spain and to contest the "cabinet of curiosities vision" that French actuality filmmakers in particular had once imposed on the nation. [ABSTRACT FROM AUTHOR]

In an understudied cluster of films from the 1920s in Spain that feature the tumultuous lives of female music-hall entertainers, posters, postcards, and magazines not only mirror the shape of windows, doors and thresholds, but also direct the flow of circulating images of women. These portable, paper media immobilize or propel women's bodies into motion, constituting portals that enable or disrupt fame, security and "happiness." Rectangular artifacts both don the walls, windows, and cabinets in these films' mise-en-scène, and drive the story, character development, and the production of gender and racial identity. These films show characters interacting with posters, postcards, and magazines in a way that becomes as determining as the gripping plots, enabling women to pivot between stark, atavistic, or impoverished rurality and electrifying urban spaces. In this article, I examine the governing status of paratexts and the female star image in early Spanish film culture by tracing the history of La gitana blanca, a film directed by Ricardo de Baños initially released in 1919 and then reedited and redistributed internationally in 1923. In its opening moments, La gitana blanca offers us a view into how paratexts not only saturated the media ecology of the 1920s but also were "responsible for popular culture's encounters with countless story worlds." In the context of Spanish film historiography's master narratives, in which cultural hierarchies remain tightly enmeshed with gendered and racialized logics, a cross-media perspective proves instrumental in revealing the extent to which film culture mediated the real and fictive lives of women. [ABSTRACT FROM AUTHOR]

Copyright of Grafica: Journal of Graphic Design / Documents de Disseny Gràfic is the property of Universitat Autonoma de Barcelona 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 Pasajes: Revista de Pensamiento Contemporáneo is the property of Publicacions Universitat de Valencia 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 Pasajes: Revista de Pensamiento Contemporáneo is the property of Publicacions Universitat de Valencia 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 Pasajes: Revista de Pensamiento Contemporáneo is the property of Publicacions Universitat de Valencia 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 Pasajes: Revista de Pensamiento Contemporáneo is the property of Publicacions Universitat de Valencia 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 its third year of existence, Pleibéricos, an online platform focused on launching and promoting new books in the field of Iberian ṣtudies, held an event at the headquarters of the Cervantes Institute in Madrid on 24 October 2022. The aim of this first in-person meeting was to start conversations with other initiatives in the field that, like Pleibéricos, were founded during the COVID-19 pandemic or that had to move their operations online or adopt a hybrid format during that time. The founders and coordinators of the following six platforms talked about their projects: the online research seminar series Polibéricos, Edinburgh Spanish Film Festival (ESFF – to represent hybrid formats in the creative sector), the Spanish-language podcast New Books Network and the conferences Conversations on Iberian Studies: Challenges and Opportunities (CISCO) and Association for Contemporary Iberian Studies (ACIS). They placed special emphasis on the advantages and challenges of the online and hybrid formats and how to incorporate these new experiences, technologies and skills into a post-pandemic context. The event concluded with a roundtable discussion and some concluding remarks by a guest respondent. This meeting was made possible with the support of a Hispanex grant awarded by the Spanish Ministry of Culture and Sport. [ABSTRACT FROM AUTHOR]

During the Spanish Civil War, cinema became one of the most powerful weapons of propaganda. The music of the films, full of anthems and political references, was an essential tool for displaying the documentary's intentions and for influencing spectators' reactions. Between 1936 and 1939, there was a surge in the production of documentaries targeting international audiences, as they were an invaluable resource for engaging the European countries that had signed the Non-Intervention Agreement against involvement in the Spanish conflict. The objective of this article is to analyse the music of the documentaries set in Spain that were exhibited internationally during the years of the war. We will study the politically tendentious uses of anthems and popular songs on the soundtracks, as well as the importance of the figure of the composer – for those documentaries with original music – attending to the social and political circumstances surrounding their participation in the production. [ABSTRACT FROM AUTHOR]

This paper analyzes the film Sueños de Tay Pi (1951), directed by Franz Winterstein for the production company Balet y Blay, as a result of the recent showing of a copy preserved in the Spanish Filmoteca. Comparing this version with two unpublished documents such as the original treatment and the technical script by Winterstein’s, we can assess the differences between versions and the personal intentions of the author, who experienced numerous production difficulties. We will also verify that the film did have a commercial distribution, contrary to what was thought. All this allows us to reconsider an unusual work that, despite the aforementioned problems, tried to open new paths in Spanish animated cinema, with a risky and modern proposal. [ABSTRACT FROM AUTHOR]

For Spanish animation, 2022 has been celebrated as the year of the re-release of a practically lost and forgotten film, although singular for its development: Érase una vez…, a feature film directed by José Escobar and Alexandre Cirici Pellicer, which adapted for the screen the tale of Cinderella described by Charles Perrault. Its production not only meant a tremendous effort for the artistic industry of Spanish animation, but also suffered the fate of competing with Disney’s Cinderella; thus, the so-called wizard from Burbank force their creators to change the title of the Spanish version. In the following pages, Luciano Berriatúa and Isabel Benavides, protagonists of the recovery of the film, narrate the details of an arduous process that lasted seven years, including different techniques and procedures to rigorously approach the historical truth of Érase una vez… [ABSTRACT FROM AUTHOR]

During the Francoist regime in Spain (1939–1975), it was extremely challenging for women to gain visibility in the public sphere and to obtain professional recognition. In the Spanish film industry, women rarely had creative roles. This article focuses on the creative practices of two outstanding female stars, Sara Montiel and Marujita Díaz, who assumed significant control over their films in the 1960s. Our research dialogues with feminist perspectives on female authorship in film history, and with theories about stardom and authorship from the field of star studies to analyze Montiel's and Díaz's creative and industrial strategies to take control of their own careers. The patriarchal pressures they had to overcome evidence the lack of study and cultural legitimization of their creative practices. The recovery of these silenced stories contributes to contemporary debates about female stars and power in film industries. [ABSTRACT FROM AUTHOR]

Homosexuality in the Western world has been considered since the 19th century as a pathology to be treated due to the fear that it would alter/ contagious "the moral health of the homeland". This aspect is crucial, given that being described as a disease by the medicine of the time, it is assigned a profoundly negative moral connotation based on perversion, death and the hideous that survives to date. In order to evidence the persistence today of the understanding of homosexuality according to disease metaphors, a visual and narrative analysis of several relevant Spanish LGTBI+ films of the last decades is carried out. The main themes analysed are HIV/AIDS and death and loneliness. Although it is undeniable that the image of the homosexual has been considerably modified, the film analysis shows that characterising these changes as positive evolution as a deconstruction of the pathological inheritance is a more complex task. The findings show that the deployment of these discourses, while adapting to the different needs of representation and historical contexts, is shown as a constant that allows us to speak of "pathological inheritance". [ABSTRACT FROM AUTHOR]

In Pedro Almodóvar’s filmography there are more female characters in main roles than male ones. Some of its films, such as Pepi, Luci, Bom y otras chicas del montón (1980), Kika (1993) o Julieta (1916), are named after their own female protagonists, and others, such us Mujeres al borde de un ataque de nervios (1989), Tacones lejanos (1991), Todo sobre mi madre (1999), Hable con ella (2002) o Madres paralelas (2021), allude directly to the female figure. Despite this evidence, his films usually show a variety of male characters, as significant as it is diverse, that doesn’t strictly respond to classic and hegemonic patterns. With the aim of analyzing the male protagonists of the Pedro Almodóvar’s films (1980-2022), as a person and role (Casetti and Di Chio), a qualitative methodology is used. Also, a classification is proposed that organizes them by categories at the narrative level: the absent husband, the fragile heartthrob, the liberated homosexual, the repressed homosexual, the disturbed and the caretaker/ savior. From these considerations, this paper aims to show how Almodóvar’s filmography has characters that manage to represent a disruptive and dissident masculinity in the Spanish cinematographic panorama. [ABSTRACT FROM AUTHOR]

This research aims to analyze women's wardrobe in Spanish films made between 1939 and 1952. It is based on the premise that the Regime used movie screens as a school for behavior. This was an apparently harmless way to indoctrinate the population in prevailing principles in a divided society, fresh out of a Civil War. Films became visual proposals of what was accepted and acceptable, not only in terms of love, sex, and gender relations, but also in the way one was to dress. Cinema, controlled by censorship, contributed to instating a female dress code that defined aesthetic parameters, but also moral categories. Films establish the limits of modesty. It was also to promote a system to indicate socially correct and incorrect trajectories, based on the development of plots and the creation of stereotyped characters. The keys to social success and failure. [ABSTRACT FROM AUTHOR]

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