Papers by Paula Iglesias Garcia
This book deepens the understanding of the work carried out by professional women in Spanish film... more This book deepens the understanding of the work carried out by professional women in Spanish film and television since the arrival of democracy, a period of radical changes that saw an emergence of female talent. Although most of the literature on women and media deals with female film directors, this book also addresses television, a medium where the presence of women was significant throughout this period. This book makes an important contribution to the study of the history of women in Spanish media, focusing on the work of some well-known names, while also rescuing from oblivion others now forgotten. It brings together scholars from Spain, the United States and Ireland to analyze films and television programs written or directed by female professionals such as Pilar Miró, Josefina Molina, Cecilia Bartolomé, Rosa Montero, Carmen Martín Gaite, Cristina Andreu, Isabel Coixet and Paloma Chamorro. The book also includes four interviews with screenwriter Esmeralda Adam, television executive Carmen Caffarel, filmmaker Ana Díez and television director Matilde Fernández. Their reflections on personal and professional experiences shed light on the changes that took place in Spanish society during this period and the challenges they have faced in their careers.
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In the Spanish transition to democracy, it appears what here is called “sentimental postmodern co... more In the Spanish transition to democracy, it appears what here is called “sentimental postmodern comedy”. It is a new sub-genre of films made by young film-makers like Fernando Colomo or Fernando Trueba and it can be understood as a “transition” genre.
This study focuses on this idea because we think that aspects which allow to put these films into a group reveal they are a reflection of different transition processes. In this sub-genre we find transitions ranging from a film model controlled by the government to a free one, from a political and social dictatorship to a democracy, and even from a modern way of thinking to postmodernism.
Referring just to film aspects, these features can be observed in a new model of film production in Spain, in a new aesthetics and, finally, in a theme renovation and in the new type of characters we can find in these movies.
From a general point of view, the marked transience nature of the subgenre (1974-1981) points out that it is an ephemeral genre and that it is linked to a transitional period. On one hand, as democracy is being consolidated in Spain, new cultural and politic determining factors appear. On the other hand, the new generation of film-makers and young actors finish the learning period which making these films had meant. They all are now part of the film industry. That set of transformations precipitates the end of the genre.
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Books by Paula Iglesias Garcia
This book deepens the understanding of the work carried out by professional women in Spanish film... more This book deepens the understanding of the work carried out by professional women in Spanish film and television since the arrival of democracy, a period of radical changes that saw an emergence of female talent. Although most of the literature on women and media deals with female film directors, this book also addresses television, a medium where the presence of women was significant throughout this period. This book makes an important contribution to the study of the history of women in Spanish media, focusing on the work of some well-known names, while also rescuing from oblivion others now forgotten. It brings together scholars from Spain, the United States and Ireland to analyze films and television programs written or directed by female professionals such as Pilar Miró, Josefina Molina, Cecilia Bartolomé, Rosa Montero, Carmen Martín Gaite, Cristina Andreu, Isabel Coixet and Paloma Chamorro. The book also includes four interviews with screenwriter Esmeralda Adam, television executive Carmen Caffarel, filmmaker Ana Díez and television director Matilde Fernández. Their reflections on personal and professional experiences shed light on the changes that took place in Spanish society during this period and the challenges they have faced in their careers.
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El cine y la Transición política en España [1975-1982], Palacio, M., (Ed.) (2011), 2011
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Talks by Paula Iglesias Garcia
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Papers by Paula Iglesias Garcia
This study focuses on this idea because we think that aspects which allow to put these films into a group reveal they are a reflection of different transition processes. In this sub-genre we find transitions ranging from a film model controlled by the government to a free one, from a political and social dictatorship to a democracy, and even from a modern way of thinking to postmodernism.
Referring just to film aspects, these features can be observed in a new model of film production in Spain, in a new aesthetics and, finally, in a theme renovation and in the new type of characters we can find in these movies.
From a general point of view, the marked transience nature of the subgenre (1974-1981) points out that it is an ephemeral genre and that it is linked to a transitional period. On one hand, as democracy is being consolidated in Spain, new cultural and politic determining factors appear. On the other hand, the new generation of film-makers and young actors finish the learning period which making these films had meant. They all are now part of the film industry. That set of transformations precipitates the end of the genre.
Books by Paula Iglesias Garcia
Talks by Paula Iglesias Garcia
This study focuses on this idea because we think that aspects which allow to put these films into a group reveal they are a reflection of different transition processes. In this sub-genre we find transitions ranging from a film model controlled by the government to a free one, from a political and social dictatorship to a democracy, and even from a modern way of thinking to postmodernism.
Referring just to film aspects, these features can be observed in a new model of film production in Spain, in a new aesthetics and, finally, in a theme renovation and in the new type of characters we can find in these movies.
From a general point of view, the marked transience nature of the subgenre (1974-1981) points out that it is an ephemeral genre and that it is linked to a transitional period. On one hand, as democracy is being consolidated in Spain, new cultural and politic determining factors appear. On the other hand, the new generation of film-makers and young actors finish the learning period which making these films had meant. They all are now part of the film industry. That set of transformations precipitates the end of the genre.