Miguel Picazo's La tía Tula (Aunt Tula, 1964) is an example of the Nuevo Cine Español films that Mario Camus described as made ‘with friends’. It is a thesis on the interdependence of restraint and rebellion, describing both the subject of the film and Picazo's experience in making it. La tía Tula scrutinises the contradictions of Francoist ideology with respect to gender and sexuality, and recursively examines its own contradictory genesis as part of a government-sponsored movement, especially Picazo's equivocal experience of artistic freedom yet ideological restraint. This chapter explores repression and excess through the use of setting, off-screen space, and the negotiation of the body. After considering the mise en scène of Tula's flat as a haunted house, it looks at three key areas of contradiction in the film: the portrayals of femininity, masculinity and childhood. The chapter also accounts for the impressive mobilisation of filmic resources throughout, paying attention to script, casting, mise en scène, cinematography, editing and sound.
GBS_insertPreviewButtonPopup('ISBN:9780748621606); A key decade in world cinema, the 1960s was also a crucial era of change in Spain. A Cinema of Contradiction , the first book to focus in depth on this period in Spain, analyses six films that reflect and interpret these transformations. The coexistence of traditional and modern values and the timid acceptance of limited change by Franco's authoritarian regime are symptoms of the uneven modernity that characterises the period. Contradiction - the unavoidable effect of that unevenness - is the conceptual terrain explored by these six filmmakers. One of the most significant movements of Spanish film history, the 'New Spanish Cinema' art films explore contradictions in their subject matter, yet are themselves the contradictory products of the state's protection and promotion of films that were ideologically opposed to it. A Cinema of Contradiction argues for a new reading of the movement as a compromised yet nonetheless effective cinema of critique. It also demonstrates the possible contestatory value of popular films of the era, suggesting that they may similarly explore contradictions. This book therefore reveals the overlaps between art and popular film in the period, and argues that we should see these as complementary rather than opposing areas of cinematic activity in Spain. Key Features: The first book-length study of Spanish cinema of the 1960s in English Includes case studies of six key films: La gran familia (The Great Family), La ciudad no es para mí (The City's Not For Me), Los farsantes (Frauds), La tía Tula (Aunt Tula), Nueve cartas a Berta (Nine Letters to Berta) and La caza (The Hunt) Considers Spanish popular cinema of the period Offers a detailed analysis of one of the key artistic movements of the Franco dictatorship in Spain, the 'Nuevo Cine Español' (New Spanish Cinema). "
This article reviews cinema of the 1990s to argue that, besides the transformation of the industry through the shift from national to transnational funding structures, one of its most remarkable achievements was the rise of women directors, an achievement that is today all the sharper in focus as this rise was not sustained over the first two decades of the twenty-first century. The article reconsiders the dismantling of the Ley Miró in the period to suggest that the "Mirovian" films that this legislation funded in fact continued to be influential. It therefore proposes, against the popular thesis of 1990s novelty in Spanish cinema, that there was continuity between the 1980s and 1990s in the area of middlebrow films. Positing a flexible definition of this category of accessible, didactic cinema, which brings cultural prestige to viewers, it argues that middlebrow film was a particular strength of films by women in the period, as subsequent developments in Spanish film and TV confirm. Testing this hypothesis against three female-authored films, it argues for Azucena Rodríguez's Entre rojas (1995) as newly relevant. A film that may be recovered both by feminism and by scholarship on the middlebrow, it proves that women's cinema is an important and thus far little-acknowledged category within middlebrow film.
This Special Issue has its origins in a symposium hosted by the Institute for Modern Languages Research (IMLR) in London, January 2016.Bringing together a team of researchers from Portugal and the United Kingdom, 'Portuguese film: Colony, postcolony, memory' aimed to investigate scholarly engagement with the colonial and postcolonial in Portuguese cinema.The discussion addressed the concerns of both postcolonial studies and memory studies, and was centred on films from different periods in Portuguese cinema, from Feitiço do Império/Spell of the Empire (António Lopes Ribeiro, 1940) to Yvone Kane (Margarida Cardoso, 2014), as well as photography and television in the work of Filipa César and the RTP (Portuguese Radio and Television) series Depois do Adeus (2013).In addition to the presentation of a number of papers on the topic and open discussion about the questions these
Artisanal and small-scale gold mining (ASM) in Peru is associated with high environmental and social costs and those who work in the sector are often labelled as criminals. A more nuanced understanding of the communities that engage in ASM is vital for the development of transformative policy that can reduce the sector’s ecological footprint. Recognising the key role that migration plays in ASM, this thesis explores these communities from a translocal livelihoods perspective that incorporates the experiences of both men and women. It draws on Bourdieu’s Theory of Practice to conceptualise the translocal ASM community as a social field, highlighting how discrete locations are connected through migration and social practices. Within this social field, it is shown that ASM livelihoods trajectories tend to diverge, reflecting the heterogeneity of the translocal mining community.
Through this research a clear distinction emerges between those who engage in the sector permanently and those who do so on only a temporary or seasonal basis. This highlights the importance of the temporal dimensions of translocality, as divergent translocal livelihoods and competing long-term interests contestations, or ‘temporal frictions’, within the community. Meanwhile, other contestations emerge between mining communities and the Peruvian Government. In particular, the community members are shown to develop a shared sense of injustice towards a policy that labels them as criminals and threatens their home. This is shown to create a collective identity amongst permanent residents that is reflected in the narratives adopted by local people in their legitimisation of their ‘deviant’ livelihood. The research concludes by building on observations of divergent mining livelihoods to present three broad categories of translocality that contribute to our understanding of translocal livelihoods in other regions of the Global South.
Abstract A key decade in world cinema, the 1960s was also a crucial era of change in Spain. This book analyses six films that reflect and interpret some of the political, social, economic and cultural transformations of this period: La gran familia (The Great Family, Palacios 1962), La ciudad no es para mí (The City's Not For Me, Lazaga 1965), Los farsantes (Frauds, Camus 1963), La tía Tula (Aunt Tula, Picazo 1964), Nueve cartas a Berta (Nine Letters to Berta, Patino 1965) and La caza (The Hunt, Saura 1965). The coexistence of traditional and modern values following rapid industrialisation and urbanisation, and the timid acceptance of limited change by Franco's authoritarian regime, are symptoms of the uneven modernity that scholars argue characterises Spain of the modern era. Contradiction – the unavoidable effect of that unevenness – is the conceptual terrain explored by the six filmmakers discussed here, whose work ranges across experiences of family and gender roles, rural and urban life, provincial and cosmopolitan mentalities, religious belief and ceremony, and youth and ageing.
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