Samuel Amago - Spanish Cinema in the Global Context

First published 2013
by Routledge
711 Third Avenue, New York, NY 10017

Simultaneously published in the UK
by Routledge
2 Park Square, Milton Park, Abingdon, Oxon OX14 4RN

Routledge is an imprint of the Taylor & Francis Group, an informa business

2013 Taylor & Francis

The right of Samuel Amago to be identified as author of this work has been asserted by him in accordance with sections 77 and 78 of the Copyright, Designs and Patents Act 1988.

All rights reserved. No part of this book may be reprinted or reproduced or utilized in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publishers.

Trademark Notice: Product or corporate names may be trademarks or registered trademarks, and are used only for identification and explanation without intent to infringe.

Library of Congress Cataloging-in-Publication Data

Amago, Samuel, 1974

Spanish cinema in the global context : film on film / by Samuel Amago.

pages cm. (Routledge advances in film studies ; 26)

Includes bibliographical references and index.

1. Motion picturesSpainHistory and criticism. 2. Motion pictures and globalization. I. Title.

PN1993.5.S7A7819 2013

791.430946dc23

2013002671

ISBN: 978-0-415-85425-2 (hbk)
ISBN: 978-0-203-74446-8 (ebk)

Typeset in Sabon
by Apex CoVantage, LLC

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

This book is the product of several years of reading, writing, talking and thinking about Spanish cinema. The project began its long gestation in 2006 during a sabbatical spent in Madrid with Amy Keenan-Amago, a year spent enjoying revival Spanish and international films at the Cine Dor, viewing first-run Hollywood and international features in their versin original at the Cine Ideal, reading movie magazines at kiosks and the Filmoteca Espaola, combing through the offerings of the top mantas in Madrid Metro stations and plazas and watching a lot of DVDs in our apartment on Calle Comercio. The research carried out in those assorted venues was made possible by a junior-faculty leave granted while I was an assistant professor at the University of Notre Dame and was funded in part by the Kellogg Institute for International Studies. I wish to express my sincere gratitude to Ted Cachey, Carlos Jerez-Farrn, Julia Douthwaite and John Welle for lively and productive conversations about movies and visual culture in OShaughnessy Hall. Jim Collins suggested many of the theoretical readings that formed the bedrock of my later thinking on cinematic reflexivity and visual culture in Spain. Attending his seminars on teaching film was one of the best things I did at Notre Dame. Scott Van Jacob did not live to read these acknowledgments, but I am glad that I can thank him now, in a more permanent way, for going so far to shape the film collection at Hesburgh Library to my needs as I researched Spanish cinema in the global era.