By Joan Ramon Resina (ed.), Andrés Lema-Hincapié (ed.)
From the origins of the hot Spanish Cinema within the Nineteen Fifties to the top of the final century, Burning Darkness beneficial properties essays on a variety of crucial motion pictures by way of Spain’s most crucial administrators, together with Pedro Almodóvar, Luis Buñuel, Víctor Erice, Ventura Pons, and others. members specialize in present theoretical debates and problems with illustration, politics, cultural id, and aesthetics. instead of traditionally surveying Spanish motion pictures, the ebook encourages a deep analyzing of those crucial works and the methods they solid mild on particular elements of Spanish society and its fresh historical past. Accessibly written, it's going to attraction not just to scholars and students but additionally to someone attracted to Spanish cinema.
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Additional info for Burning Darkness: A Half Century of Spanish Cinema
Although the medium shot predominates in Muerte de un ciclista (there are 228), a great number of them focus attention on the faces of characters, often in anticipation of close-ups (116) and extreme close-ups (35). Leaving aside those that focus on objects or other areas of the body, out of a total of 456 shots, 87 are close-ups and 32 are extreme close-ups of faces. In the last sequence of the ﬁlm, this technique reaches its climax in the inverted close-up of a wounded or perhaps dead María José, and in the close-ups where we read the fear, indecision, and ﬁnally resolution in the face of the second cyclist.
8. In Camus’ existentialism, the term conscience no longer has Christian echoes. In Bardem’s ﬁlm and script, it still does (see Guión 93, 117). 9. Does Bardem not do the same in his ﬁlm and in his script? 10. Following Eisenstein’s montage theories, one can establish connections between thematic material and cinematographic techniques. By the mid-ﬁfties, Bardem was familiar with the works of Soviet theorists like Eisenstein and Pudovkin (see Egido 59, 129, 131), and, more speciﬁcally, we know that Bardem read Pudovkin’s Film Technique in an English translation (Egido 6).
Rafa will also live this “why,” constantly, but with cynicism. Before the day of “why,” there is a mere reiteration of the existential rhythm. The newsreel in the cinema repeats “the same as always” in Juan’s words; “always the same faces, the same days. Nothing ever happens,” in María José’s words; “the same words as always,” says the priest in the wedding, according to Miguel, María José’s husband. And, in the original script, the party for the Americans is characterized similarly: “There were many familiar faces, all those people that could be seen everywhere, everyday” (Guión 66).