Read more
Spanish Cinema against Itself maps the evolution of Spanish surrealist and politically committed cinematic traditions from their origins in the 1930s--with the work of Luis Buñuel and Salvador Dalí, experimentalist José Val de Omar, and militant documentary filmmaker Carlos Velo--through to the contemporary period. Framed by film theory this book traces the works of understudied and non-canonical Spanish filmmakers, producers, and film collectives to open up alternate, more cosmopolitan and philosophical spaces for film discussion. In an age of the post-national and the postcinematic, Steven Marsh's work challenges conventional historiographical discourse, the concept of "national cinema," and questions of form in cinematic practice.
List of contents
Acknowledgments
Introduction:
Différance. Otherness. Experiment.
1. Interrogations of the National Allegory: Trance film and Ethnography
2. Intermediality, Intoxication, and the
Infrathin
3. The Discontinuous Legacies of Pere Portabella: Between Heritage and Inheritance
4. History, Hauntology, Representation: Spanish Cinema Against Itself
5. The
Ex of Experimentation: Against Periodization
6. The Catacoustic and the Cosmopolitan: Rhythm and Timbre in the Films of Andrés Duque
7. Turns and Returns, Envois/Renvois: The Postal Effect in Recent Spanish Film
8. Retrospective Future Perfect: History, Black Holes, and Time Warps in the Films of Los Hijos and Luis López Carrasco
9.
¡No nos representan!: Performativity as Militant Film, the 15-M Archive
Afterword: Unruly Archives.
La décima carta and
Buenas noches, España
Index
About the author
Steven Marsh is Professor of Spanish Film and Cultural Studies at the University of Illinois at Chicago. He is author of
Popular Spanish Film Under Franco: Comedy and the Weakening of the State and editor (with Parvati Nair) of
Gender and Spanish Cinema.
Summary
In an age of the post-national and the postcinematic, Steven Marsh's work challenges conventional historiographical discourse, the concept of "national cinema,and questions of form in cinematic practice.
