By A. Davies
This quantity presents a collection of unique essays from major students within the box exploring the modern debates, issues and controversies ongoing in Spanish movie undefined, tradition and scholarship. The essays demonstrate the far-reaching shifts that experience happened within the Spanish movie scene, making crucial studying for all drawn to ecu cinema.
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Extra resources for Spain on Screen: Developments in Contemporary Spanish Cinema
Es 25 May. ‘Almodóvar carga contra la cobertura de El País sobre el Festival de Cannes’ (2009), El País 27 May. es, 7 April. Besas, P. (1997), ‘The Financial Structure of Spanish Cinema’ in M. ), Refiguring Spain. Cinema/Media/Representation, (Durham and London: Duke University Press), 241–59. Boyero, C. ”’, El País 18 March. com/especiales. nid=349. S. (2004), ‘Alerta por las bajas taquillas del cine español’, Periódico de Aragón 21 September. ‘El misterio de cine español’ (2008), El País 24 January.
So why is it that the more Spanish audiences desert their own national cinema, the more films get made? The answer lies in large part in the availability of a generous and multi-layered subsidy system. This operates at many levels (national, regional, local and European) and across numerous types of institutions (from official national and pan-European government agencies, as well as national, regional and local television companies, right down to local savings banks, art galleries and museums).
By comparison, Spain’s recent levels of market share have oscillated between 7 per cent and 18 per cent, averaging 13–14 per cent. Such a consistent lack of overall commercial appeal, poor box office and excessive levels of ‘inflation of production’, argues Gubern, reflect the continuing, outmoded structure of the national business. That is, we find a few large film producers (4–5 companies, making 5 or more films per year), alongside ‘la atomización empresarial’ (the atomization of the industry), but with very few mid-sized companies making quality or ‘A’ feature films for big audiences.