Architecture and the Urban in Spanish Film

Description

This will be the first edited collection in English on urban space and architecture in Spanish popular film since 1898. Building on existing film and urban histories, this innovative volume will examine Spanish film through contemporary interdisciplinary theories of urban space, the built environment, visuality and mass culture from the industrial through to the digital age.

Architecture and Urbanism in Spanish Film brings together the innovative scholarship of an international and interdisciplinary group of film, architecture and urban studies scholars thinking through the reciprocal relationship between the seventh art and the built environment. Some of the shared concerns that emerge from this volume include the ways cinema as a new technology reshaped how cities and buildings are built and inhabited since the early twentieth century; the question of the mobile gaze; film's role in the shifting relationship between the private and the public; film and everyday life; monumentality and the construction of historical memory for a variety of viewing publics; the impact of the digital and the virtual on filmmaking and spectatorship.

Primary readership will be those researching, teaching and studying Spanish film, international film studies, urban cultural studies, cultural studies, and architects who are interested in interdisciplinary endeavours.

List of Figures 

Acknowledgments

Introduction Architecture, the Urban and the Critical Possibilities of Spanish Film Studies 

Susan Larson

 

PART 1: ARCHITECTURE AND THE URBAN 

1.Architecture, Urbanistic Ideology and the Poetic- AnalyticDocumentary Mode in Mercado de futuros (2011) by Mercedes Álvarez

Benjamin Fraser

2.Establishing Shots as Urban Blueprints in Spanish Feature Films

Jorge Gorostiza

 

PART 2: MOBILITY

3.The Rhythm of the Modern City: Traffic and Mobility in Spanish Film,1896– 1936 

Nuria Rodríguez- Martín

4.Childhood Spectacle, Modernity and Madrid as a Dystopic City: LuisLucia’s Cerca de la ciudad (1952)

David Foshee

Elevators and the Poetics of Vertical Mobility in Spanish Film

Tom Whittaker

 

PART 3: SURFACE TENSIONS 

6. An Archi- Texture of Pleasure: The Verbena, the Modistilla and the Mantón de Manila in Rosa de Madrid (1927) 

Juli Highfill

7. Surface Tension and Utopian Underworlds: Orpheus and the Executioner in Luis García Berlanga’s El verdugo (1963) 

Patricia Keller

 

PART 4: THE EVERYDAY 

8. Mediating Everyday Life: Domestic Architecture in Spanish Film 

Josefina González Cubero and Alba Zarza Arribas

9. Through the Looking Glass: Images of the Ordinary World in Oscar- Nominated Spanish Cinema 

Emeterio Diez Puertas and María de Arana Aroca

 

PART 5: MEMORY AND THE MONUMENTAL 

10. Who and What Was José Antonio Nieves Conde Criticizing in the Film El inquilino (1957)? 

Susan Larson and Carlos Sambricio

11. Madrid 1964: Icon of Modernity or City of Memory? A Look at the ‘Details’ 

Vicente Sánchez- Biosca

12. Making Madrid Plastic: Waste and Space in Pedro Almodóvar’s Post- movida Films 

Samuel Amago

 

PART 6: THE VIRTUAL 

13. Uncanny Urbanism and Generational Shifts in Carlos Marques Marcet’s 10.000km and Anchor and Hope 

Leigh Mercer

14. Dead to Capitalism: Zombified Territory and Junkie Spaces in Cabanyal Z, or How to Unleash Monstrous Creativity in the Urban 

Stephen Luis Vilaseca

Notes on Contributors 

Index 

Sujets

• Buildings
• Spanish architecture
• General officer
• Building
• Spanish
• Spain
• Modernism
• History of film
• Documentary film
• Spain (groupe)
• General
• Film
• Architecture

Informations

• Publié par: Intellect Books
• Date de parution: 19 mai 2021
• Nombre de lectures: 0
• EAN13: 9781789384918
• Langue: English
• Poids de l'ouvrage: 2 Mo

Extrait

Architecture and the Urban in Spanish Film

Architecture and the Urban in Spanish Film
E DITED BY
Susan Larson
First published in the UK in 2021 by
Intellect, The Mill, Parnall Road, Fishponds, Bristol, BS16 3JG, UK
First published in the USA in 2021 by
Intellect, The University of Chicago Press, 1427 E. 60th Street,
Chicago, IL 60637, USA
© Signed texts, their authors
© Rest of the book, the editors
Copyright © 2021 Intellect Ltd
All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or byany means, electronic, mechanical, photocopying, recording, or otherwise, without written permission.
A catalogue record for this book is available from the British Library.
Copy editor: Newgen KnowledgeWorks
Cover designer: Alex Szumlas
Cover image: Photograph of Emilio Ruiz on the set of Operación Ogro (1979). Used with permission of the Filmoteca Española and the family of Emilio Ruiz.
Frontispiece image: Pedro Almodóvar (dir.), Mujeres al borde , 1988. Spain.
© El Deseo
Production manager: Jessica Lovett
Typesetter: Newgen KnowledgeWorks
Print ISBN 978-1-78938-489-5
ePDF ISBN 978-1-78938-490-1
ePUB ISBN 978-1-78938-491-8
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This is a peer-reviewed publication.
Contents
List of Figures
Acknowledgments
Introduction: Architecture, the Urban and the Critical Possibilities of Spanish Film Studies
Susan Larson
Part 1: Architecture and the Urban
1. Architecture, Urbanistic Ideology and the Poetic-Analytic Documentary Mode in Mercado de futuros (2011) by Mercedes Álvarez
Benjamin Fraser
2. Establishing Shots as Urban Blueprints in Spanish Feature Films
Jorge Gorostiza
Part 2: Mobility
3. The Rhythm of the Modern City: Traffic and Mobility in Spanish Film, 1896–1939
Nuria Rodríguez-Martín
4. Childhood Spectacle, Modernity and Madrid as a Dystopic City: Luis Lucia’s Cerca de la ciudad (1952)
David Foshee
5. Elevators and the Poetics of Vertical Mobility in Spanish Film
Tom Whittaker
Part 3: Surface Tensions
6. An Archi-Texture of Pleasure: The Verbena , the Modistilla and the Mantón de Manila in Rosa de Madrid (1927)
Juli Highfill
7. Surface Tension and Utopian Underworlds: Orpheus and the Executioner in Luis García Berlanga’s El verdugo (1963)
Patricia Keller
Part 4: The Everyday
8. Mediating Everyday Life: Domestic Architecture in Spanish Film
Josefina González Cubero and Alba Zarza-Arribas
9. Through the Looking Glass: Images of the Ordinary World in Oscar-Nominated Spanish Cinema
Emeterio Diez Puertas and María de Arana Aroca
Part 5: Memory and the Monumental
10. Who and What Was José Antonio Nieves Conde Criticizing in the Film El inquilino (1957)?
Susan Larson and Carlos Sambricio
11. Madrid 1964: Icon of Modernity or City of Memory? A Look at the ‘Details’
Vicente Sánchez-Biosca
12. Making Madrid Plastic: Waste and Space in Pedro Almodóvar’s Post- Movida Films
Samuel Amago
Part 6: The Virtual
13. Uncanny Urbanism and Generational Shifts in Carlos Marques Marcet’s 10.000km and Anchor and Hope
Leigh Mercer
14. Dead to Capitalism: Zombified Territory and Junkie Spaces in Cabanyal Z , or How to Unleash Monstrous Creativity in the Urban
Stephen Luis Vilaseca
Notes on Contributors
Index
Figures
Figure I.1: Photograph of Emilio Ruiz on the set of Operación Ogro (1979). Used with permission of the Filmoteca Española and the family of Emilio Ruiz.
Figure I.2: Still of aluminum cutout painting of Emilio Ruiz recreating nineteenth-century Madrid for the television series Fortunata and Jacinta (1979) (Directed by Mario Camus).
Figure 1.1: Els Encants with view to highway and Torre Agbar. Mercedes Álvarez (dir.), Mercado de futuros , 2011. Spain. © IB Cinema.
Figure 2.1: José María Nunes (dir.), Mañana , 1957. Spain. © Mercury Films.
Figure 2.2: José María Elorieta (dir.), El hincha , 1958. Spain. © Ansara Films.
Figure 2.3: Juan Antonio Bardem (dir.), Calle Mayor , 1956. Spain. © Iberia Films.
Figure 2.4: Francisco Rovira Beleta (dir.), Hay un camino a la derecha , 1953. Spain. © Mercury Films.
Figure 2.5: Julio Salvador (dir.), Sin la sonrisa de Dios , 1955. Spain. © Mercury Films.
Figure 3.1: Alexandre Promio, Scenes of Spain , 1896. Black and white frame. Courtesy of the Filmoteca Española (Spanish Film Archive).
Figure 3.2: Francisco Elías (dir.), El misterio de la Puerta del Sol (The Mystery of the Puerta del Sol), 1929. Black and white frame. Courtesy of the Filmoteca Española (Spanish Film Archive).
Figure 3.3: Francisco Elías (dir.), El misterio de la Puerta del Sol (The Mystery of the Puerta del Sol), 1929. Black and white frame. Courtesy of the Filmoteca Española (Spanish Film Archive).
Figure 3.4: Madrid 1936–1937 , 1938. Black and white frame. Courtesy of the Filmoteca Española (Spanish Film Archive).
Figure 3.5: Madrid 1936–1937 , 1938. Black and white frame. Courtesy of the Filmoteca Española (Spanish Film Archive).
Figure 4.1: Still from Cerca de la ciudad , Luis Lucia (dir.), 1952. Spain. © Goya Producciones. Courtesy of the Filmoteca Española (Spanish Film Archive).
Figure 5.1: Francisco Ibáñez Talavera, 13, Rue del Percebe , 1963. Spain. © Editorial Bruguera.
Figure 5.2: Álex de la Iglesia (dir.), La comunidad , 2000. Spain. © Manga Films.
Figure 6.1: Eusebio Fernández Ardavín (dir.), Rosa de Madrid , 1928. Spain. © Producciones Ardavín. Courtesy of the Filmoteca Española (Spanish National Film Archive).
Figure 6.2: Eusebio Fernández Ardavín (dir.), Rosa de Madrid , 1928. Spain. © Producciones Ardavín. Courtesy of the Filmoteca Española (Spanish National Film Archive).
Figure 6.3: Eusebio Fernández Ardavín (dir.), Rosa de Madrid , 1928. Spain. © Producciones Ardavín. Courtesy of the Filmoteca Española (Spanish National Film Archive).
Figure 6.4: Eusebio Fernández Ardavín (dir.), Rosa de Madrid , 1928. Spain. © Producciones Ardavín. Courtesy of the Filmoteca Española (Spanish National Film Archive).
Figure 7.1: Prison cell darkroom. Luis García Berlanga (dir.), El verdugo , 1963. Spain. Used with permission of Egeda and Mercury Films.
Figure 7.2: Double thresholds, the family house. Luis García Berlanga (dir.), El verdugo , 1963. Spain. Used with permission of Egeda and Mercury Films.
Figure 7.3: The Guardia Civil looking for José Luis in the island underworld. Luis García Berlanga (dir.), El verdugo , 1963. Spain. Used with permission of Egeda and Mercury Films.
Figure 8.1: Edgar Neville (dir.), El último caballo , 1950. Spain. © Edgar Neville.
Figure 8.2: Luis García Berlanga (dir.), Plácido , 1961. Spain. © Jet Films.
Figure 8.3: Ramón Comas (dir.), Historias de Madrid , 1957. Spain. © UCE Films.
Figure 8.4: José Antonio Nieves Conde (dir.), El inquilino , 1957. Spain. © Films Españoles Cooperativa.
Figure 8.5: Marco Ferreri and Isidoro Martínez Ferry (dir.), El pisito , 1958. Spain. © Documento Films.
Figure 8.6: José Antonio Nieves Conde (dir.), Surcos , 1951. Spain. © Atenea Films.
Figure 8.7: Luis Marquina (dir.), Así es Madrid, 1953. Spain. © Cifesa and Cinesol, A.T.A.
Figure 8.8: Ladislao Vajda (dir.), Mi tío Jacinto , 1956. Spain. © Chamartín, Falco Film and Enic.
Figure 8.9: Luis Lucia (dir.), Un ángel tuvo la culpa , 1960. Spain. © Exclusivas Floralva Producción and Santos Alcocer P.C.
Figure 8.10: Fernando Fernán Gómez (dir.), La vida por delante , 1958. Spain. © Estela Films.
Figure 8.11: Luis García Berlanga (dir.), El verdugo , 1963. Spain. © Naga Films and Zabra Films.
Figure 8.12: Fernando Palacios (dir.), El día de los enamorados , 1959. Spain. © Asturias Films and AS Films.
Figure 8.13: Pedro Lazaga (dir.), La ciudad no es para mí , 1966. Spain. © Pedro Masó Producciones Cinematográficas.
Figure 8.14: NO-DO Nº 764A (1957). Courtesy of the Filmoteca Española (Spanish Film Archive).
Figure 8.15: Manuel Domínguez (dir.), 25 años de paz: España edifica , NO-DO Imágenes Nº 1034, 1964. Courtesy of the Filmoteca Española (Spanish Film Archive).
Figure 8.16: Juan Antonio Marrero (dir.), La vivienda en España , 1972. Instituto Nacional de la Vivienda and NO-DO. Courtesy of the Filmoteca Española (Spanish Film Archive).
Figure 8.17: Pedro Almodóvar (dir.), ¿Qué he hecho yo para merecer esto! , 1984. Spain. © Tesauro.
Figure 8.18: Pedro Almodóvar (dir.), Mujeres al borde de un ataque de nervios , 1988. Spain. © El Deseo and Lauren Film.
Figure 8.19: Mario Camus (dir.), Adosados , 1995. Spain. © Enrique Cerezo P.C.
Figure 8.20: José Luis Guerín (dir.), En construcción , 2001. Spain. © Ovideo.
Figure 9.1: Juan Antonio Bardem (dir.) , La venganza , 1958. Spain. © Metro Goldwyn Mayer.
Figure 9.2: Luis García Berlanga (dir.), Plácido , 1961. Spain. © In-Cine.
Figure 9.3: Francisco Rovira-Beleta (dir.), Los Tarantos , 1963. Spain. © Sigma III.
Figure 9.4: Luis Buñuel (dir.), Tristana , 1970. Spain. © Mercurio Films.
Figure 9.5: José Luis Garci (dir.), Volver a empezar , 1982. Spain. © José Esteban Alenda.
Figure 10.1: Triptych produced by the Obra Sindical del Hogar for the Internationale Bauausstellung in Berlin, 1957, first panel.
Figure 10.2: Triptych produced by the Obra Sindical del Hogar for the Internationale Bauausstellung in Berlin, 1957, second panel.
Figure 10.3: Locations of chabolas and caves used for domestic residences in 1940 in Madrid from the government publication Reconstrucción , 1:2 (1940).
Figure 10.4: Miguel Fisac’s axonometric drawing of a housing unit for the Architecture Competition of the Fifth National Architecture Assembly of 1949.
Figure 10.5: Francisco Javier Sáenz de Oiza’s axonometric drawing of a housing unit for the architecture competition for the Río del Manza