The works of Fernando León de Aranoa, Icíar Bollaín, Archero Mañas and Benito Zambrano lead the way to a timid form of realism based on the creation of a social context and the accentuation of certain effects of reality.This path to realism is situated in a moment in history that contemplates a kind of return to politics, understood as a form of participation of the subject in the public sphere.To what degree does Spanish cinema participate in this path towards politics?
This is where you start if you’re studying Spanish stardom / Spanish actors –highly recommended.
Has chapters on six established (at the time of his writing) stars (Imanol Arias, Antonio Banderas, Carmelo Gómez, Javier Bardem, Jordi Mollá, and Jorge Sanz) and one chapter that has a briefer look at four up-and-coming actors (Eduardo Noriega, Fele Martínez, Liberto Rabal, and Juan Diego Botto).
La violencia enfocada: tres visiones cinematográficas españolas.
La muerte de Mikel (1983) de Imanol Uribe, Historias del Kronen (1994) de Montxo Armendáriz y El Bola (2000) de Achero Mañas –Dagmar Schmelzer [Taken from the official abstract] In contrast to traditional discussions of film and history, the author takes the concept of historicity to examine the relationship between thought, culture, and art at a specific moment in the history of cinema.
As point of departure, the article takes the commonly cited crisis of reality in Spanish cinema of the 1990s, in particular three significant cultural phenomena: the identity crisis, excessive images of violence, and the transformation of the world into a gigantic Platonic cave.
These phenomena are observed in the various models of Spanish film of the 1990s, where a new generation of filmmakers aim to situate their films within the cultural logic of postmodernity.
The author affirms that representative figures in Spanish film are a symptom of the global crisis of the real that is affecting the world, dominated by a loss of faith in the media and the creation of new spatial and temporal dimensions in a virtual sphere.
[from the official abstract] Towards the close of the 1990s, a time in which post-modern cinema regarded reality as suspect, a certain tendency towards realism arose in Spanish cinema.
The book takes a thematic approach with chapters divided into sections written by different authors - although the contents of the chapters generally progress chronologically (in terms of the history of Spanish cinema and also in their use of films as case studies), the range of authors (with distinct points of view) involved allows a multi-faceted take on Spanish cinema to develop.
Each section includes a bibliography and there is also a 'further reading' list at the end of each chapter.
I am using the same contents format as the book itself, so although the authors for each chapter are indicated, the titles of their individual sections are not given.