Skip to main content

2020 | OriginalPaper | Buchkapitel

18. Spanish Horror Film: Genre, Television and a New Model of Production

verfasst von : Vicente Rodríguez Ortega, Rubén Romero Santos

Erschienen in: European Cinema in the Twenty-First Century

Verlag: Springer International Publishing

Aktivieren Sie unsere intelligente Suche, um passende Fachinhalte oder Patente zu finden.

search-config
loading …

Abstract

This chapter discusses the evolution of Spanish horror film in the past decades. First, it examines the growth of horror in the context of film co-productions in the 1960s and 1970s. Second, it studies how horror film developed throughout the 1980s in the context of the re-establishment of a democratic regime. Third, it analyses the return of genre in the 1990s through the appearance of a new generation of filmmakers that redefined Spanish film. Fourth, it approaches horror film in the twenty-first century, with an emphasis on the key role of television operators as film production companies. Finally, it examines The Orphanage (J.A. Bayona 2007) as a national and international triumph that paved the way for an understanding of contemporary Spanish film within a series of both national and transnational coordinates.

Sie haben noch keine Lizenz? Dann Informieren Sie sich jetzt über unsere Produkte:

Springer Professional "Wirtschaft+Technik"

Online-Abonnement

Mit Springer Professional "Wirtschaft+Technik" erhalten Sie Zugriff auf:

  • über 102.000 Bücher
  • über 537 Zeitschriften

aus folgenden Fachgebieten:

  • Automobil + Motoren
  • Bauwesen + Immobilien
  • Business IT + Informatik
  • Elektrotechnik + Elektronik
  • Energie + Nachhaltigkeit
  • Finance + Banking
  • Management + Führung
  • Marketing + Vertrieb
  • Maschinenbau + Werkstoffe
  • Versicherung + Risiko

Jetzt Wissensvorsprung sichern!

Springer Professional "Wirtschaft"

Online-Abonnement

Mit Springer Professional "Wirtschaft" erhalten Sie Zugriff auf:

  • über 67.000 Bücher
  • über 340 Zeitschriften

aus folgenden Fachgebieten:

  • Bauwesen + Immobilien
  • Business IT + Informatik
  • Finance + Banking
  • Management + Führung
  • Marketing + Vertrieb
  • Versicherung + Risiko




Jetzt Wissensvorsprung sichern!

Fußnoten
1
Spain was a dictatorship for almost forty years, from 1939 to 1975, under the ruling of general Francisco Franco. The so-called Transition to democracy (La Transición) started after Franco’s demise in 1975. On 1 March 1979, the first democratic elections took place.
 
2
All data about domestic box office in Spain has been taken from the ICAA’s website. Instituto de Cinematografía y Artes Audiovisuales (ICAA) is the Spanish institution in charge of managing national film subsidies. https://​www.​mecd.​gob.​es/​cultura-mecd/​areas-cultura/​cine.​html.
 
3
The Day of the Beast had 1.4 million viewers, earning €4.3 million.
 
4
The Others also won eight Goyas (The Spanish Film Academy awards) including Best Film and Best director, becoming the first English-language film to receive the Best Film Award.
 
5
Data from ICAA.
 
7
In fact, the film was shot entirely in Spain. More specifically, shooting took place in Madrid and on a location in Cantabria, a region in the North of the country.
 
Literatur
Zurück zum Zitat Ansola González, Txomin. 2004. El decreto Miró: una propuesta ambiciosa pero fallida para impulsar el cine español de los 80. Archivos de la Filmoteca 48: 102–121. Ansola González, Txomin. 2004. El decreto Miró: una propuesta ambiciosa pero fallida para impulsar el cine español de los 80. Archivos de la Filmoteca 48: 102–121.
Zurück zum Zitat Benet, Vicente J. 2012. El cine español. Una historia cultural. Barcelona: Paidós. Benet, Vicente J. 2012. El cine español. Una historia cultural. Barcelona: Paidós.
Zurück zum Zitat Buse, P., Triana-Toribio, N. and Willis. 2008. A. The Cinema of Álex de la Iglesia. Manchester: Manchester University Press. Buse, P., Triana-Toribio, N. and Willis. 2008. A. The Cinema of Álex de la Iglesia. Manchester: Manchester University Press.
Zurück zum Zitat Cerdán, Josetxo. 2004. España, fin de milenio. Sobre El día de la bestia (Álex de la Iglesia, 1995). In La historia a través del cine: transición y consolidación democrática en España, ed. Rafael Ruzaga Ortega, 235–256. Bilbao: Universidad del País Vasco. Cerdán, Josetxo. 2004. España, fin de milenio. Sobre El día de la bestia (Álex de la Iglesia, 1995). In La historia a través del cine: transición y consolidación democrática en España, ed. Rafael Ruzaga Ortega, 235–256. Bilbao: Universidad del País Vasco.
Zurück zum Zitat Cerdán, Josetxo, and Javier Pena. 2005. Variaciones sobre la incertidumbre (1984–2000). In La nueva memoria. Historia(s) del cine español (1939–2000), ed. José Luis Castro de Paz, Julio Pérez Perucha, and Santos Zunzunegui, 254–330. A Coruña: Vía Láctea editorial. Cerdán, Josetxo, and Javier Pena. 2005. Variaciones sobre la incertidumbre (1984–2000). In La nueva memoria. Historia(s) del cine español (1939–2000), ed. José Luis Castro de Paz, Julio Pérez Perucha, and Santos Zunzunegui, 254–330. A Coruña: Vía Láctea editorial.
Zurück zum Zitat Choi, Jung-Bong. 2011. National Cinema: An Anachronistic Delirium? The Journal of Korean Studies 16 (2): 173–192.CrossRef Choi, Jung-Bong. 2011. National Cinema: An Anachronistic Delirium? The Journal of Korean Studies 16 (2): 173–192.CrossRef
Zurück zum Zitat Ciller, Carmen, and Manuel Palacio. 2016. Producción y desarrollo de proyectos audiovisuales. Madrid: Síntesis. Ciller, Carmen, and Manuel Palacio. 2016. Producción y desarrollo de proyectos audiovisuales. Madrid: Síntesis.
Zurück zum Zitat Fernández Meneses, Jara. 2016. Contemporary Spanish Film Policies (1982–2010). Dissertation, University of Kent. Fernández Meneses, Jara. 2016. Contemporary Spanish Film Policies (1982–2010). Dissertation, University of Kent.
Zurück zum Zitat Halle, Randall. 2010. Offering Tales They Want to Hear: Transnational European Film Funding as Neo-orientalism. In Global Art Cinema: New Theories and Histories, ed. Rosalind Galt and Karl Schoonover, 303–319. Oxford: Oxford University Press. Halle, Randall. 2010. Offering Tales They Want to Hear: Transnational European Film Funding as Neo-orientalism. In Global Art Cinema: New Theories and Histories, ed. Rosalind Galt and Karl Schoonover, 303–319. Oxford: Oxford University Press.
Zurück zum Zitat Heredero, Carlos F. 1997. Espejo de miradas. Entrevistas con nuevos directores del cine español. Madrid: Festival de Alcalá de Henares. Heredero, Carlos F. 1997. Espejo de miradas. Entrevistas con nuevos directores del cine español. Madrid: Festival de Alcalá de Henares.
Zurück zum Zitat ———. 1998. 20 nuevos directores del cine español. Alianza Editorial: Madrid. ———. 1998. 20 nuevos directores del cine español. Alianza Editorial: Madrid.
Zurück zum Zitat Heredero, Carlos F., and Antonio Santamarina. 2002. Raíces de futuro para el cine español. In Semillas de futuro cine español 1990–2001, ed. Carlos F. Heredero and Antonio Santamarina, 23–85. Madrid: Sociedad Estatal España Nuevo Milenio. Heredero, Carlos F., and Antonio Santamarina. 2002. Raíces de futuro para el cine español. In Semillas de futuro cine español 1990–2001, ed. Carlos F. Heredero and Antonio Santamarina, 23–85. Madrid: Sociedad Estatal España Nuevo Milenio.
Zurück zum Zitat Hoefert de Turegano, Teresa. 2004. The International Politics of Cinematic Coproduction: Spanish Policy in Latin America. Film & History: An Interdisciplinary Journal of Film and Television Studies 34 (2): 15–24.CrossRef Hoefert de Turegano, Teresa. 2004. The International Politics of Cinematic Coproduction: Spanish Policy in Latin America. Film & History: An Interdisciplinary Journal of Film and Television Studies 34 (2): 15–24.CrossRef
Zurück zum Zitat Ibáñez, Juan Carlos. 2016. Cine, Television y Cambio Social en España. Madrid: Síntesis. Ibáñez, Juan Carlos. 2016. Cine, Television y Cambio Social en España. Madrid: Síntesis.
Zurück zum Zitat Lázaro-Reboll, Antonio. 2012. Spanish Horror Film. Edinburgh: Edinburgh University Press.CrossRef Lázaro-Reboll, Antonio. 2012. Spanish Horror Film. Edinburgh: Edinburgh University Press.CrossRef
Zurück zum Zitat ———. 2017. Generating Fear: From Fantastic Factory (2000–2005) to [REC]I (2007–2014). In Contemporary Spanish Horror, ed. Jordi Marí, 161–189. New York: Routledge. ———. 2017. Generating Fear: From Fantastic Factory (2000–2005) to [REC]I (2007–2014). In Contemporary Spanish Horror, ed. Jordi Marí, 161–189. New York: Routledge.
Zurück zum Zitat Lázaro-Reboll, Antonio, and Ian Olney, eds. 2018. The Films of Jess Franco. Detroit: Wayne University Press. Lázaro-Reboll, Antonio, and Ian Olney, eds. 2018. The Films of Jess Franco. Detroit: Wayne University Press.
Zurück zum Zitat Olney, Ian. 2014. Spanish Horror Cinema. In A Companion to the Horror Film, ed. Harry M. Benshoff, 363–389. New York: Wiley & Sons. Olney, Ian. 2014. Spanish Horror Cinema. In A Companion to the Horror Film, ed. Harry M. Benshoff, 363–389. New York: Wiley & Sons.
Zurück zum Zitat Palacio, Manuel. 2012. La televisión durante la transición española. Madrid: Cátedra. Palacio, Manuel. 2012. La televisión durante la transición española. Madrid: Cátedra.
Zurück zum Zitat Pulido, Javier. 2012. La década de oro del cine de terror español (1967–1975). Madrid: T&B editores. Pulido, Javier. 2012. La década de oro del cine de terror español (1967–1975). Madrid: T&B editores.
Zurück zum Zitat Rodríguez Ortega, Vicente. 2014. Clowns, Goats, Music and the Comedic Violent: Late Francoism and the Transition to Democracy in Álex de la Iglesia’s Films. In (Re)viewing Creative Critical and Commercial Practices in Contemporary Spanish Cinema, ed. Duncan Wheeler and Fernando Canet, 235–247. Bristol: Intellect. Rodríguez Ortega, Vicente. 2014. Clowns, Goats, Music and the Comedic Violent: Late Francoism and the Transition to Democracy in Álex de la Iglesia’s Films. In (Re)viewing Creative Critical and Commercial Practices in Contemporary Spanish Cinema, ed. Duncan Wheeler and Fernando Canet, 235–247. Bristol: Intellect.
Zurück zum Zitat ———. 2015. (In)Visible Co-Productions, Spanish Cinema, the Market and the Media. In Global Genres, Local Films: The Transnational Dimension of Spanish Cinema, ed. Elena Oliete Aldea, Beatriz Oria, and Juan A. Tarancón, 247–260. London: Bloomsbury. ———. 2015. (In)Visible Co-Productions, Spanish Cinema, the Market and the Media. In Global Genres, Local Films: The Transnational Dimension of Spanish Cinema, ed. Elena Oliete Aldea, Beatriz Oria, and Juan A. Tarancón, 247–260. London: Bloomsbury.
Zurück zum Zitat Rodríguez Ortega, Vicente, and Rubén Romero Santos. 2017b. Blurring Reality and Fiction in Contemporary Spanish Horror TV: The Case of Daniel Calparsoro. In Contemporary Spanish Horror, ed. Jordi Marí, 235–251. New York: Routledge. Rodríguez Ortega, Vicente, and Rubén Romero Santos. 2017b. Blurring Reality and Fiction in Contemporary Spanish Horror TV: The Case of Daniel Calparsoro. In Contemporary Spanish Horror, ed. Jordi Marí, 235–251. New York: Routledge.
Zurück zum Zitat Triana-Toribio, Triana. 2003. Spanish National Cinema. London: Routledge. Triana-Toribio, Triana. 2003. Spanish National Cinema. London: Routledge.
Zurück zum Zitat Willis, Andrew. 2008. The Fantastic Factory: The Horror Genre and Contemporary Spanish Cinema. In Contemporary Spanish Cinema and Genre, ed. Jay Beck and Vicente Rodríguez Ortega, 27–43. Manchester: Manchester University Press. Willis, Andrew. 2008. The Fantastic Factory: The Horror Genre and Contemporary Spanish Cinema. In Contemporary Spanish Cinema and Genre, ed. Jay Beck and Vicente Rodríguez Ortega, 27–43. Manchester: Manchester University Press.
Metadaten
Titel
Spanish Horror Film: Genre, Television and a New Model of Production
verfasst von
Vicente Rodríguez Ortega
Rubén Romero Santos
Copyright-Jahr
2020
Verlag
Springer International Publishing
DOI
https://doi.org/10.1007/978-3-030-33436-9_18