Filmspanism: A Critical Companion to the Study of Spanish Cinema

Cover
Half Title
Title
Copyright
Dedication
Contents
Acknowledgments
Introduction
1 Hispanism and its cinematic discontents
	Foundational frictions
	Filmspanism
	Bloody Oedipus
	Thinking and filming the nation
	Imagining the opposite of a community (together)
	Imagined beginnings
	Vernacular modernity
	Conclusion
2 Film, art, poetry: Spanish cinema and the place of literature
	Sister arts, mining shaft, or a medium to overcome
	Questions of space
	Aesthetics and institutions
	The Spanish difference (again)
	Art cinema made in Spain
	An art cinema for the 1990s
	El sol del membrillo: painting with light in the national imagescape
	Institutionally artistic
	Can you tell the filmmaker from the film?
	Poetry and film
	Images that do not narrate
	Conclusion
3 Popular film or cinema as bad object
	The place of popular film within peninsular cultural studies
	Plots against images and deaths that cannot kill
	Paletos, landismo, and some torrentismo
	How popular is Torrente?
	Too many last names
	Documenting, judging, identifying
	Conclusion
4 Genre and nation
	Made in (E)spain
	National genres
	Guerracivilismo
	The persistence of the memory image
	Agonic national identity
	Transnational fantasies, local knowledge
	Memory fictions
	Conclusion
5 (Spanish) transnational cinema
	The trans and the national
	Follow the money, map the themes
	Sponsored communities and (s)elective affinities
	How to be transnational abroad
	Transnationalism made in Spain and questions of genre
	A thrilling crisis
	Thriller made in Spain
	The production of crisis images
	Cut to the chase
	Manos arriba, esto es un atraco/Hands up, this is a holdup
	Conclusion
6 Screenspanism?
	This is the end
	Actually, this is really the end
Works cited
Index