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This critical anthology sets out to explore the boom that horror
cinema and TV productions have experienced in Spain in the past two
decades. It uses a range of critical and theoretical perspectives
to examine a broad variety of films and filmmakers, such as works
by Alejandro Amenabar, Alex de la Iglesia, Pedro Almodovar,
Guillermo del Toro, Juan Antonio Bayona, and Jaume Balaguero and
Paco Plaza. The volume revolves around a set of fundamental
questions: What are the causes for this new Spanish horror-mania?
What cultural anxieties and desires, ideological motives and
practical interests may be behind such boom? Is there anything
specifically "Spanish" about the Spanish horror film and TV
productions, any distinctive traits different from Hollywood and
other European models that may be associated to the particular
political, social, economic or cultural circumstances of
contemporary Spain?
This critical anthology sets out to explore the boom that horror
cinema and TV productions have experienced in Spain in the past two
decades. It uses a range of critical and theoretical perspectives
to examine a broad variety of films and filmmakers, such as works
by Alejandro Amenabar, Alex de la Iglesia, Pedro Almodovar,
Guillermo del Toro, Juan Antonio Bayona, and Jaume Balaguero and
Paco Plaza. The volume revolves around a set of fundamental
questions: What are the causes for this new Spanish horror-mania?
What cultural anxieties and desires, ideological motives and
practical interests may be behind such boom? Is there anything
specifically "Spanish" about the Spanish horror film and TV
productions, any distinctive traits different from Hollywood and
other European models that may be associated to the particular
political, social, economic or cultural circumstances of
contemporary Spain?
Toward a Cultural Archive of la Movida revisits the cultural and
social milieu in which la Movida, an explosion of artistic
production in the late 1970s and early 1980s, was articulated
discursively, aesthetically, socially, and politically. We connect
this experience with a broader national and international context
that takes it beyond the city of Madrid and outside the borders of
Spain. This collection of essays links the political and social
undertakings of this cultural period with youth movements in Spain
and other international counter-cultural or underground movements.
Moving away from biographical experiences or the identification of
further participants and works that belong to la Movida, the
articles collected in this volume situate this movement within the
political and social development of post-Franco Spain. Finally, it
also offers a reading of recent politically motivated recoveries of
this cultural phenomenon through exhibitions, state sponsored
documentaries, musicals, or tourist itineraries. The perception of
Spain as representative of a successful dual transition from
dictatorship to democracy and free market capitalism created a
"Spanish model" that has been emulated in countries like Portugal,
Argentina, Chile and Hungary, all formerly ruled by totalitarian
regimes. While social scientists study the promises, contradictions
and failures of the Spanish Transicion-especially on issues of
memory, repression, and (the lack of) reconciliation -our approach
from the humanities offers another vantage point to a wider
discussion of an unfinished chapter in recent Spanish history by
focusing on la Movida as the "cultural archive" whose cultural
transitions parallel the political and economic ones. The
transgressive, urban nature of this movement demonstrated an overt
desire, especially among Spanish youth, to reach onto a global
arena emulating the punk and new wave aesthetic of such cities as
London, New York, Paris, and Berlin. Art, design, film, music,
fashion during this period helped to forge a sense of a modern
urban identity in Spain that also reflected the tensions between
modernity and tradition, global forces and local values,
international mass media technology and regional customs.
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