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Aug 15, 2014 · Spanish horror cinema often works to subvert gender norms at the level of representation. Key here is the recurring figure of the female protagonist. In his seminal essay on the connection between Spanish art and horror cinema, Andrew Willis demonstrates how art filmmakers working under Franco used the horror movie as a vehicle for expressing their opposition to fascism.
- Ian Olney
- 2014
The history of the horror genre in Latin American literature and film is yet to be written, as suggested in Bravo Rozas 1994. Unlike in Europe, the United States, and Japan, there is no consolidated academic bibliography on the subject. There are no “Latin American Horror Film” and “Latin American Horror Literature” books available.
Ann Davies, University of Stirling. This issue of Horror Studies is dedicated to the theme of Hispanic horror, or horror texts that. ction wit. cultures that can be considered to come under a Hispanicumbrella. The field has a lon. exile from the canon and the mainstream for many decades if not centuries, and second,
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.
- Paul Julian Smith
- Horror Film
- Fanta Terror
- El Otro Cine/The Other Cinema
- Monster Children Horror
- Telecinco Cinema
A film that seeks to provoke fear, shock, fright and terror in spectators, causing a physical reaction as the narrative and the successive set pieces unfold. It is an umbrella term that includes many subgenres such as supernatural horror, slasher film, monster film, the horror thriller and science fiction horror.
Concept used in the Spanish context to refer to fantastic and horror films from the late Francoist period (from the mid-1960s to 1975). Fanta Terror is a local expression of the so-called Euro-Horror, recognisable due to its “disproportionate doses of sex and violence” (Pulido 2012: 42).
Term given to twenty-first-century Spanish auteur films that have achieved prestige within the international festival circuit but have obtained unremarkable box-office returns. In this regard, it is worth noting directors like Jaime Rosales with films such as The Hours of the Day (2003) or Albert Serra with The Death of Louis XIV(2016) who frequent...
One of the main characteristics of Spanish cinema is the recurrent presence of children playing different types of monsters in horror films. This has been an ongoing tendency since 1970s with films such as Who Can Kill a Child (1976) and became central in the early 2000s with The Others (2001) and The Orphanage(2007). In the Spanish context, this s...
Founded in 1996, it is the film production company associated with television channel Telecinco, which belongs to the multimedia conglomerate Mediaset. It has produced some of the most remarkable Spanish films (mostly comedies, thrillers and horror) of the last two decades. Examples are The Other Side of the Bed (2002), The Orphanage, Spanish Movie...
- Vicente Rodríguez Ortega, Rubén Romero Santos
- 2020
May 24, 2020 · 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 ...
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Oct 26, 2020 · Love the Spanish language Dracula quite a bit, and always use it in my Film History class when I teach about the transition to sound. I teach it in Adaptations as well, especially because as an adaptation of the novel, it has more scenes than the English language film and so is actually a more complete – “authentic” – version of the novel.
