By Tatjana Pavloviæ, Inmaculada Alvarez, Rosana Blanco-Cano, Anitra Grisales, Alejandra Osorio, Alejandra Sánchez
A hundred Years of Spanish Cinema offers an in-depth examine an important activities, movies, and administrators of twentieth-century Spain from the silent period to the current day. A thesaurus of movie phrases presents definitions of crucial technical, aesthetic, and ancient termsFeatures a visible portfolio illustrating key issues of some of the motion pictures analyzedIncludes a transparent, concise timeline to assist scholars quick position movies and genres in Spain’s political, not pricey, and old contextsDiscusses over 20 motion pictures together with Amor Que Mata, Un Chien Andalou, Viridana, El Verdugo, El Crimen de Cuenca, and Pepi, Luci, Born
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Anarchist production can be divided into two aesthetically and ideologically distinct periods. Their initial fervent cinematographic activities reflected utopian visions of culture, the future, and politics that translated into captivating film works. The emphasis on visual experimentation and improvisation was meant to revolutionize both society and the cinema. Some of the most notable anarchist films were Antonio Sau’s Aurora de esperanza and Pedro Puche’s Barrios bajos, both made in 1937. 29 While this first wave of anarchist films integrated inquisitiveness about the new medium with revolutionary commitment, in the second wave (from August 1937 onward), political zeal faded and production was geared toward more commercial genres, such as comedy.
The film also employs surrealist iconography and cinematic techniques, such as experimentation with close-ups, fades, the evocative juxtaposition of images, and the dislocation of sound from image. With this film Buñuel denounces the endemic problems of Spanish society – the educational system, the power of the church, the economic crisis – and advocates for the disentitlement of private property belonging to the aristocracy and the Catholic church; the restructuring of the agricultural system; the push for public medicine; and the development of a more solid economic and social infrastructure – the very same issues that the Republican regime in power was facing.
This intentionality implies that not only was the film’s narration meticulously scripted, but the visual aspects and events that are presented as non-fiction were carefully constructed as well. The scene of the goat falling down the mountain did not occur as explained by the narrator; Buñuel himself shot the animal, which the viewer can see through the gun smoke that appears on the right side of the screen. Nor is the scene in which a swarm of bees kills a donkey spontaneous. The crew planned two separate shots to film the scene in which vultures pick at the dead donkey, and actually transported the dead animal to their chosen site.