Course Notes: Film Nations - Spanish and U.S. Cinema

Course Overview

  • Course Title: ART/SPAN 333E Film Nations: Comparative Perspectives on Spanish and U.S. Cinema

  • Instructors: Dr. Samuel Fernández-Pichel & Dr. Carmen Hernández Ojeda

Key Deadlines

  • Journal 3: Due by 23:59 pm

  • Film viewings before class:

    • Detour (on 3/18)

    • Bienvenido Mr. Marshall (on 3/25)

  • Reading Assignments: Read Jordan & Allinson (p. 18-20) before class on 3/20

Classical Period of Cinema (1915-1960)

  • Timeline:

    • 1915-1930: Rise of the Studio System

    • 1930-1945: Golden Age of Cinema

    • 1945-1960: Crisis of the Studio System

  • Key Concepts:

    • Vertical integration and control of film production and distribution until 1948.

    • Hays Code (1934-1968) imposed censorship, affecting film content.

    • Emergence of new genres, such as screwball comedies post-WWII.

  • Impact of TV on Cinema:

    • The rise of drive-in theaters and television led to changes in audience engagement.

    • Films transitioned to color and widescreen formats.

Film Noir

  • Definition & Characteristics:

    • Key features: anti-hero protagonists, femme fatales, themes of fate, and moral ambiguity.

    • Timeframe: Prominent from 1941 (The Maltese Falcon) to 1958 (Touch of Evil).

  • Examples:

    • The Maltese Falcon (1941) directed by John Huston

    • Touch of Evil (1958) directed by Orson Welles

  • Analysis:

    • Film noir's influence extends into neo-noir filmmaking today.

Group Project Guidelines

  • Stages of Project Development:

    1. Form a Group: Identify members (max 4) and document on Google Doc.

    2. Choose Project Type: Decide on video or presentation format.

    3. Research and Planning: Determine deadlines for research and preparation.

Spanish Film in the 1950s

  • Francoism Stages:

    • First Stage (1939-1950): Totalitarianism, censorship, and repression.

    • Second Stage (1951-1959): Opening to the world, easing of repression.

  • Influence on Filmmaking:

    • Introduction of escapist and commercial cinema under the regime but also emerging dissident voices.

    • Key Genres: Folkloric musicals, comedies reflecting social realities (e.g., Bienvenido, Míster Marshall).

Notable Dissident Filmmakers

  • Luis Buñuel and Juan Antonio Bardem: Key figures challenging cinematic norms under Franco.

  • Influences: Italian Neorealism, with themes addressing social issues and critique of the regime.

Film Analysis: Bienvenido, Mister Marshall

  • Critical Themes:

    • Satire on American foreign policy and internal Spanish issues.

    • Use of cinematic techniques like freeze frame shots and voice-over narration to enhance storytelling.

  • Censorship Issues: Navigated through artistic expression while critiquing social structures.

Transition to New Hollywood (1960s-1970s)

  • Cultural Context: Political radicalism, social upheaval, and the end of the Hays Code led to an evolution in film content and themes.

  • Shifts in Filmmaking:

    • Emphasis on genre diversity (e.g., horror, sci-fi) and the emergence of blockbusters.

    • Key films: Easy Rider, Bonnie and Clyde, Jaws.

  • New Hollywood Characteristics:

    • Less linear narratives, emphasis on character development, and experimental techniques.

Cinema's Evolution in the 1990s and Beyond

  • Post-Franco Era: Diverse filmmaking, with a mix of genres from neo-realism to comedies.

  • Dominance of Commercial Cinema: Rise of neo-vulgar cinema appealing to local audiences, while also reaching international markets (e.g., Ocho apellidos vascos).

  • International Recognition: Directors like Pedro Almodóvar gain acclaim, pushing boundaries despite commercial pressures.


Theme IV: Hollywood Decline and Spanish Dissidents
Film Noir

1) Elaborate:
a. The main features of film noir include:
- Themes: Fatalism, moral ambiguity, and existential dread.
- Characters: Anti-heroes, femme fatales, detectives, and criminals.
- Style: High-contrast lighting, urban settings, and complex narratives.
- Mood: Pessimistic and reflective with a sense of unease.
- Aesthetics: Use of shadows, unique camera angles, and voiceover narratives.

The Conversaciones de Salamanca

Reading: Jordan & Allinson, “Neo-realism, ‘cine con niño’, internationalization and Buñuel: 1952-1961” (p. 18-20).

1) Define:
a. UNINCI [Answer needed]
b. ‘Cine con niño’ [Answer needed]
c. “Viridiana affair” [Answer needed]
d. Internationalization [Answer needed]

2) Elaborate:
a. Main trends in the state-supported commercial cinema of the 1950s in Spain include a focus on escapism and catering to both societal norms and underlying critiques of the regime.

Theme V: The New Waves
Hollywood in Transition

Revise presentation and Gary Young’s documentary (The New Cinema, 1968).

1) Define:
a. MPPA rating system [Answer needed]
b. “Exploitation cinema” [Answer needed]
c. “Runaway productions” [Answer needed]

2) Elaborate:
a. Social and political turmoil in the U.S. in the late 1960s included civil rights movements, anti-war protests, and a questioning of traditional values.
b. Developments in film technology saw the advent of color films and advances in special effects.
c. Three main attacks on Classical Hollywood during the 1960s included criticism of narrative formulas, calls for greater diversity in storytelling, and the challenge posed by new independent filmmakers.
d. The birth of corporate (global) Hollywood marked a shift toward big-budget spectacles and franchise films.
e. Main trends and styles in American cinema during the 1960s included more experimental narratives and a focus on counter-culture themes.

Realismo critico in Spanish Cinema

Reading: Jordan & Allinson, “‘New waves’ and ‘old genres’” (p. 20-24).

1) Define:
a. “Cine de Arte y Ensayo” [Answer needed]
b. “Landismo” [Answer needed]
c. “Tercera Vía” [Answer needed]
d. Escuela de Barcelona [Answer needed]
e. El espíritu de la colmena (1973) [Answer needed].

2) Elaborate:
a. ‘Nuevo Cine Español’: defining traits include unconventional narratives and a focus on social issues.
b. Popular film genres in Spanish cinema in the 1960s ranged from musicals to dramas that reflected contemporary issues.

Theme VI: The Emergence of Globalized Cinema in the Neoliberal Age
The New Hollywood

Reading: R. Wood, “Papering the cracks: Fantasy and ideology in the Reagan Era” (p. 144-167).

1) Define:
a. ‘Lucas-Spielberg syndrome’ [Answer needed]
b. “Compensatory fantasy” [Answer needed]
c. “Incoherent text” [Answer needed]
d. Pleasure as ideological construction (p. 146) [Answer needed].

2) Elaborate:
a. According to Wood, Hollywood films from the 1980s provide reassurance through familiar genre conventions and happy endings that counter the turmoil outside the theatre.

Cinema in Spain: From the Transition Period to Globalization

Reading: Jordan & Allinson, “Democratic transition and reform: 1975-1982”, “Socialist film policy: 1982-94” & “Only entertainment? Spanish cinema: 1994-2003” (p. 24-33).

1) Define:
a. Oppositional cinema [Answer needed].
b. Carlos Saura [Answer needed].
c. Pilar Miró [Answer needed].
d. ‘Quality’ cinema [Answer needed].
e. ‘New social realism’ [Answer needed].
f. ‘Neo-vulgar Spanish cinema’ (N. Triana-Toribio) [Answer needed].

2) Elaborate:
a. Reforms in filmmaking policies in Spain during the Transition period included liberalization, allowing more creative freedom and the production of socially relevant content.
b. Filmmaking policies in Spain from the mid-1990s to the early 21st century focused on promoting diversity in film content and international collaborations.
c. Renewal of generations/personnel in the Spanish film industry has led to fresh voices and narratives that resonate with contemporary audiences.
d. “[The] process of ‘crossover’ became well established in the 1990s, with Spanish films increasingly able to market local stories that align with international standards.”

Theme VII: (Post-)Cinema in the 21st Century
The Political Economy of World Cinema in the Digital Age

Reading: P. McDonald & J. Wasko, “The new contours of the Hollywood film industry” (p. 1-7).

1) Define:
a. ‘Event movies’ [Answer needed].
b. Cross-promotion [Answer needed].
c. ‘Deterritorialization’ (of the Hollywood film industry) [Answer needed].

2) Elaborate:
a. The role of TV & video in the re-configuration of the Hollywood film industry from the 1960s onwards included changing viewing habits and the rise of home media.
b. “Hollywood film is a copyright industry” indicates the focus on intellectual property and franchises in the contemporary film landscape.

Reading: Stacy Smith’s “The data behind Hollywood’s sexism” (Ted Talk, 2017).

1) Elaborate:
a. Gender bias in Hollywood manifests in unequal representation both on-screen and behind the scenes, impacting the narratives portrayed and the social implications of underrepresentation.

Cine Resistente in Spain

1) Elaborate:
a. Cine resistente, or the “Other Spanish Cinema,” focuses on artistic expression that challenges mainstream narratives and explores social issues through independent filmmaking methods. Relevant filmmakers include Luis Buñuel and themes often center around the critique of traditional Spanish society.