World Film Locations: Barcelona

Helio San Miguel and Lorenzo J. Torres Hortelano

Description

Barcelona is one of the world’s most beautiful cities. A permanent showcase of the work of acclaimed architect Antoni Gaudí, it also has a long and rich cinematic legacy. Great directors from all over the world – among them Woody Allen, Pedro Almodóvar and Michelangelo Antonioni – have set their films there. World Film Locations: Barcelona is the first book of its kind to explore the rich cinematic history of this seductive Catalonian city. 

 

The illuminating essays collected here cover essential themes of the city’s cinematic history, including the origins of cinema in Barcelona; the role of Ciutat Vella (old quarter) as a film set; the influential Barcelona School of the 1960s; the film presence of Gaudí and his work; changing attitudes and urban renewal before and after the 1992 Olympics; and the emergence of a new generation of female filmmakers that have made Barcelona the centre of their cinematic explorations. This book will be a welcome addition to the libraries of anyone enchanted by the beauty of Barcelona, whether in person on the big screen.

Maps/Scenes

Scenes 1-8 – 1908–1963

Scenes 9-16 – 1963–1978

Scenes 17-24 – 1978–1995

Scenes 25-32 – 1996–2003

Scenes 33-29 – 2003–2008

Scenes 40-46 – 2009–2011

Essays

Barcelona: City of the Imagination – Helio San Miguel and Lorenzo J. Torres Hortelano

Barcelona at the Dawn of Silent Cinema – Joan M. Minguet Batllori

In the Beginning There Were the Taverns: From Barcelona's Old Town to the New Cinema – Javier Rioyo

The Barcelona School: A Mirror of Two Cities – Esteve Riambau

Love Letters to Barcelona: Antoni Gaudí in Film – Javier H. Estrada

The Olympic Effect: Barcelona through the Eyes of the American Beholder – John D. Sanderson

Contemporary Barcelona through the Female Eye – María Camí-Vela

Sujets

• Arts visuels
• Arts visuels
• Cinéma
• Cinéma
• Cinéma
• Cinema
• General officer
• History of film
• Art
• General
• Film
• Europe

Informations

• Publié par: Intellect Books
• Date de parution: 01 janvier 2013
• Nombre de lectures: 0
• EAN13: 9781783201075
• Langue: English
• Poids de l'ouvrage: 4 Mo

Extrait

WORLD FILM LOCATIONS BARCELONA Edited byHelio San Miguel and Lorenzo J. Torres Hortelano

WORLD FILM LOCATIONS BARCELONA Edited by Helio San Miguel and Lorenzo J. Torres Hortelano

First Published in the UK in 2013 by Intellect Books, The Mill, Parnall Road, Fishponds, Bristol, BS16 3JG, UK

First Published in the USA in 2013 by Intellect Books, The University of Chicago Press, 1427 E. 60th Street, Chicago, IL 60637, USA

Copyright ©2013 Intellect Ltd

Cover photo: Vicky Cristina Barcelona (2008) Antena 3 Films/Mediapro / The Kobal Collection

Copy Editor: Emma Rhys

Design support: Jo Amner

All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without written consent.

A Catalogue record for this book is available from the British Library

WorldFilmLocationsSeries ISSN: 20459009 eISSN: 20459017

World Film Locations Barcelona ISBN: 9781783200252 ePub ISBN: 9781783201082 ePDF ISBN: 9781783201075

Printed and bound by Bell & Bain Limited, Glasgow

WORLD FILM LOCATIONS BARCELONA

e di t o r s Héîô Sà Mîûé à LôéZô J. Tôéŝ Hôéàô

s e ri e s e di t o r & de s ign Gàîé Sôôôŝ

c o n t ri b u t o r s Màà Cà-Véà Lîà C. EîÇ Aûéà EŝÇôà LéZ Jàîé H. Eŝàà Jûà S. Màŝ Jôà M. Mîûé Bàôî Eŝéé Rîààû Féîé Rîàééîà Jàîé RîôYô RûÉ Rôéô Sàôŝ Jô D. Sàéŝô Eîî Téxîô FàÉ Sûŝàà Tûîô Rôŝ Aéàà Và Cûéô

l o cat i o n m a p s Jôé KéîéY

p ub l i s h e d by ïééÇ Té Mî, Pàà Rôà, Fîŝôŝ, Bîŝô, BS16 3JG, UK T: +44 0 117 9589910 F: +44 0 117 9589911 E:îno@întellectbooks.com

Bookends: Plaza Reial (Sergio Morchón) This page: Land and Freedom (Kobal) Overleaf: La Sagrada Família (sslasher-fun)

CONTENTS

MàPŝ/Sçééŝ

10 Sçééŝ 1-8 1908 - 1963

30 Sçééŝ 9-16 1963 - 1978

50 Sçééŝ 17-24 1978 - 1995

70 Sçééŝ 25-32 1996 - 2003

90 Sçééŝ 33-39 2003 - 2008

108

Sçééŝ 40-46 2009 - 2011

WôFîLôçàîôŝ| Barcelona

EŝŝàYŝ

6 Bàçéôà: CîY ô é Iàîàîô Helîo San Mîguel and Lorenzo J. Torres Horelano

8 Bàçéôà à é Dà ô Sîé Cîéà Joan M. Mîngue Ballorî

28 I é Béîî Téé WéééTàéŝ:Fô Bàçéôà’ŝ O Tô ô é Né Cîéà Javîer Rîoyo

48 Té Bàçéôà Sçôô: A Mîô ô Tô Cîîéŝ Eseve Rîambau

68Lôé Lé éŝ ô Bàçéôà: Aôî GàUí î Fî Javîer H. Esrada

88 éç:Té OYPîç E Bàçéôà ôU é EYéŝ ô é Aéîçà Béôé John D. Sanderson

106CôéPôàY Bàçéôà ôU é Féàé EYé María Camí-Vela

124 125 128

BàçKPàéŝ Resources Conrîbuor Bîos Fîlmography

3

p ub l i s h e d by ïééÇ Té Mî, Pàà Rôà, Fîŝôŝ, Bîŝô, BS16 3JG, UK T: +44 0 117 9589910 F: +44 0 117 9589911 E:îno@întellectbooks.com

ac k now l e d g e m e n t s

he edîors o îs book woud îke o ank Gabrîe Soomons, e serîes edîor, wose suppor made îs voume possîbe. We wan o express our deepes graîude o a e conrîbuors or eîr generous and remarkabe work. We woud aso îke o acknowedge a ew rîends and coeagues or eîr assîsance and advîce: Paua Aranzazu Ruîz, Fernando Cane, Josexo Cerdán, Ceesîno Deeyo, Abero Eena, Josep uís Fecé, Raae Gómez Aonso, José uîs Guerîn, Naaîa Jos, Tîna Maaney, Enrîque Rubîo, Sareen Smî, Francîsco Verdera and orenzo Vîces. We are aso graeu o e ondon Spanîs Fîm Fesîva and îs dîrecor, Joana Granero, or eîr suppor.We are especîay îndebed o e oowîng însîuîons and peope or provîdîng us wî e curren ocaîon poograps a îusrae e scene revîews: e Barceona Fîm Commîssîon (ïnsîu Caaà de es Empreses Cuuras) – îs coordînaors or Caaonîa and Barceona, Caroa Guerrero Bernaus and Eena Subîrà, respecîvey, and Saîma Jîrarî rom îs Communîcaîon Deparmen; Mane Casanovas, Enrîc García and María Parrîa rom e Barceona Turîsme (Barceona Tourîs OIce); Eena Torren rom e E Pra de obrega Fîm OIce; Transpors Meropoîans de Barceona (TMB) and Xesco Forn rom ’Hospîae Fîm OIce; poograpers Danî Rovîra and Emîî Texîdor; and e Paronao de a Monaña de Monserra.

H e l i o S a n M igu e l a n d L o re n z o J. To rre s Ho rt e l a no

INTRODUCTIO Wô Fî LôçàîôŝBarcelona

N

world film locations: barcelonaîmmerses e reader în îs sunnîng and vîbran cîy, one a bends radîîon wî cosmopoîan spîrî. Barceona îs e capîa o Caaonîa, an Auonomous Communîy wîîn Spaîn wî a dîsîncîve cuure and anguage, Caaan. ï îs e counry’s second arges cîy wî a popuaîon o over a mîîon and a a, and a meropoîan area a amos rîpes a. Orîgînay an ïberîan seemen over 2,000 years ago, Barceona became a rîvîng medîeva own a over e cenurîes grew îno a dazzîngy beauîu and ecîc meropoîs, a cuura and arîsîc ub, and a word-cass ourîs desînaîon. hîs modern Barceona as been saped by a serîes o urbuen and ransormaîve evens suc as eary îndusrîaîzaîon, e nîneeen-cenury cuura movemen caed Renaîxença (renaîssance), careu urban pannîng, Gaudí and modernîsme, dramaîc poîîca and socîa upeavas, wo Unîversa Exposîîons, e Cîvî War, and e ceebraîon o e Oympîc Games. hîs sorîed pas and rîc cuura erîage as made Barceona and îs surroundîng meropoîan area a prîvîeged im ocaîon sînce e sîen perîod. Cînema as orougy porrayed îs en dîsrîcs, rom Sans- Monjuc o Nou Barrîs, bu especîay Cîua Vea (Od Town în Caaan) and Eîxampe (Enargemen). Cîua Vea, e odes par o e cîy, încudes many o e bes-known sîes o Barceona and some o îs mos dîsîncîve neîgbouroods, suc as Barrî Gòîc (e Goîc Quarer), E Rava (aso known as Barrîo Cîno), a Barceonea and a Rîbera. as Rambas, Barceona’s mos popuar sree, separaes Barrî Gòîc rom E Rava. Norwes o Cîua Vea îes Eîxampe, wî îs îconîc grîd o square bocks deveoped în e nîneeen cenury. he amous Passeîg de Gràcîa, Barceona’s mos rega and aLuen sree, îs ocaed în îs dîsrîc as we as some o Anonî Gaudí’s mos ceebraed buîdîngs – a Pedrera, Casa Baó and a Sagrada Famîîa. Some o Spaîn’s onges srees run roug Eîxampe, and îs grîd îs sased by Avînguda Dîagona, e amous avenue a spîs e cîy în wo. World Fîlm Locaîons: Barcelonaîncudes sîx Spoîg essays wrîen by presîgîous scoars and crîîcs a deve îno sîgnîican emes a deine e cîy’s im îsory. hey are compemened wî 46 scene revîews, îusraed wî im rames and curren poograps a expore e represenaîon în cînema o dîferen neîgbouroods, monumens and perîods o e cîy. he sîes menîoned în îs book are în Caaan, save or a ew însances were e Spanîs erms are aso commony used. Regardîng movîe îes and peope’s names, ey appear as îsed on e ïnerne Movîe Daabase (ïMDb). Barceona as suc a wea o ocaîons wor proiîng a î îs împossîbe o cover em a în îs voume. However, e edîors and wrîers o îs book ope a e movîes anaysed în e scene revîews aong wî ose menîoned în e essays, succeed în conveyîng a vîvîd and muîayered îmage o Barceona’s srîkîng urban andscape. World Fîlm Locaîons: Barcelonaaspîres o enîgen you and ead you on your cînemaîc exporaîons roug îs remarkabe and pusaîng cîy. {

Héîô Sà MîUé, Cô - Eîô

WôFîLôçàîôŝ| Barcelona



BARCELONA Cîy of he Imagînaîon

barcelona is a city wî a ong and rîc im radîîon. ï eaured as a ocaîon soon ater e învenîon o e cînemaograp and payed a undamena roe în e eary deveopmens o Spanîs Cînema, as im scoar Joan M. Mîngue Baorî descrîbes în e irs Spoîg o îs book. Even under Franco’s dîcaorsîp im producîon managed o rîve în Barceona. ïn e 1950s e cîy araced înernaîona sars, and în 1964 e Bacázar broers buî eîr amous Espugues Cîy sudîos, were many weserns and oer co- producîons were so. ïn ac, unî e 1970s, mos o e oIces o e Hoywood majors în Spaîn were ocaed în Barceona. ïn e 1960s Barceona was aso a wîndow îno Europe. Avan-garde ar, arcîecure and îeraure lourîsed, and ook e cîy o e oreron o Spaîn’s modernîy. Barceona, and especîay E Rava and E Gòîc, payed a key roe în e evouîon o e New Spanîs Cînema, as im-maker and journaîs Javîer Rîoyo es us în îs Spoîg. hose were e years o e Barceona Scoo, one o e mos brîîan and înluenîa movemens în e îsory o Caaan

6îôŝôçàôWLîF| Barcelona

Text by HELIO SAN MIGUEL AND w LORENZO J. TORRES HORTELANO

and Spanîs Cînema. Born în e spîrî o oer conemporary im movemens îke e Frenc Nouvee Vague and e Brîîs Free Cînema, î sared eîr îberaîng orce and broug a brea o res aîr durîng e dîcaorsîp. ï sîgnaed a e wînds o cange o e 1960s coud aso reac Spaîn, were ey crysaîzed în e nex decade durîng e poîîca Transîîon and e reurn o democracy. Fîm îsorîan and curren dîrecor o e Caaan Cînemaeque, Eseve Rîambau, ofers an însîgu Spoîg on e reaîonsîp beween e Barceona Scoo and e cîy a was îs crade. Sînce en, no oer im movemen as ad e same împac on e cîy, bu Barceona as no acked im-makers. A e îme o e Transîîon, Bîgas una wîBîlbao(1978) and Venura Pons wî îs documenaryOcaña, rera înermîen/ Ocaña, an Inermîen Porraî(1978), creaed modern cu cassîcs. Bîgas una expored a more sordîd sîde marked by a promînen eroîcîsm and deveoped an înernaîona career a requeny ook îm away rom Barceona. Venura Pons as become, peraps, e mos promînen im dîrecor o e cîy. Over ree decades and more an weny ims aer, îs work as porrayed îs cîy wî an înensîy and bread unsurpassed by any oer dîrecor. Aong wî em, many oer im- makers ave aso expored e many sîdes o e cîy and e îves o îs înabîans. Among em, Vîcene Aranda, Francesc Berîu and, în recen years, Cesc Gay, aso deserve specîa menîon and eîr movîes can be ound în ese pages. Even e unexpeced and unusua sîg o a dysopîan and vîsuay srîkîng pos-apocaypîc Barceona suraced wî ambîîous oca im-makers îke Davîd Pasor and Àex Pasor înLos úlîmos días (2013), as we as înSegon orîgen/Second Orîgîn, e projec a Bîgas una was workîng on jus beore îs dea.

Opposite Los últimos días (2013) /Below The Machinist (2004) Name (0000) /Below Name (0000)

OpApobsoitve OpApobsoitve Numerous ims ave aso sown e dîverse and © 0000 production co beauîu geograpy o Barceona. Besîdes Cîua © 2004 Filmax Entertainment / Castelae Producciones © 0000 production co © 2013 V M e o  r a en (‘ a O F  il d m T s/ o R w e n b ’ e î li n on C T a e  r a r  e a s n tr ), e e cîy îmmedîaey evokes e genîus o e Caaan arcîec Anonî Gaudí and e modernîs perîod a wî aways be îdenîied wî îm. Modernîs buîdîngs, curces and parks, especîay ose buî by Gaudí, are a symbo o e cîy, a magne or vîsîors, and a requen ocaîon în movîes. Fîm crîîc Javîer H. Esrada expores în îs Spoîg e presence o Gaudí în e movîes, one a as încreased în recen îmes wî e growîng înernaîona ame o e cîy. Bu Barceona’s appea îs no îmîed o îs od quarer and o Gaudí and modernîsme. Many oer paces în e cîy and îs meropoîan area ave provîded sîgnîican ocaîons a are eaured în e Scene Revîews. ïn recen îmes, e ceebraîon o e 1992 Oympîcs was e mos sîgnîican and ransormaîve even. ïn preparaîon or e games, Barceona Modernîst buîldîngs, embarked on a proound churches and parks, process o urban renewa especîally those a împroved many areas and canged îs buîlt by Gaudí, are a înernaîona saus. ïn îs symbol of the cîty, a Spoîg, Senîor ecurer magnet for vîsîtors, Jon D. Sanderson and a frequent expores roug e eyes locatîon în movîes. o wo Amerîcan im-

makers ow e Oympîcs canged e percepîon o e cîy. Cînema as requeny porrayed Barceona’s ong and someîmes raumaîc îsory. Fundamena evens o undersand e evouîon o e cîy – îke e Renaîxença (renaîssance), modernîsme, e bombîng o e Gran Teare de îceu, e Tragîc Week o 1909, e ïnernaîona Exposîîons, e Spanîs Cîvî War, ec. – ave a ad eîr due reerence în bo icîon and documenary cînema. ïn e as wo decades, oowîng on e success o e Oympîcs, e deveopmen o Barceona aong wî e grow a as aken pace a over Spaîn, as no ony made îs cîy an aracîve desînaîon or ourîss, bu aso a magne or îmmîgraîon rom a over e word. A e same îme, e rendy and cosmopoîan Barceona sares many o e socîa and poîîca probems o a modern and busîng meropoîs. hîs as coîncîded wî e emergence o a remarkabe generaîon o emae im-makers wose work as deved îno ese new socîa reaîîes. Proessor María Camí-Vea’s Spoîg expores e ways în wîc îs generaîon ofers a res, nove and gender-orîened perspecîve o e îssues a ave arîsen în conemporary Barceona. Sînce e begînnîng o îs cenury, Barceona as ad a greaer presence în înernaîona producîons by im-makers rom a around e word. From Europe, Cédrîc Kapîsc wî L’Auberge espagnole(2002), Gîovannî Veronesî wîManuale d’amore 2(2007) and Tom Tykwer wîPerfume: he Sory of a Murderer(2006), are some o e mos amous exampes. Barceona was aso e ocaîon o coîce or Amerîcan dîrecors îke Brad Anderson wîhe Macînîs (2004), and especîay Woody Aen wîVîcky Crîsîna Barcelona(2008), co-produced by e Spanîs company Medîapro, wîc was aso parîay responsîbe or îs boos. Barceona was aso cosen by accaîmed Mexîcan im-maker Aejandro Gonzáez ïñárrîu orBîuîful(2010), and even by Boywood’s sar dîrecor Zoya Akar or erZîndagî Na Mîlegî Dobara(2011). Today, around ity movîes – abou one-our o a e movîes made în Spaîn – are so yeary în Barceona. hîs growîng vîsîbîîy în bo Spanîs and înernaîona producîons sîgnas a e srong and endurîng presence o Barceona as one o e mos promînen cîîes o e îmagînaîon în cînema wî mos îkey grow and îs beauîu sîes and srees wî be e se o many more sorîes în e years o come.{

7

S P O T L I G H T

BARCELONA AT THE DAWN OF SILENT CINEMA

cinema arrived early o e cîy o Barceona. Beween e end o e nîneeen cenury and Word War ï, e Caaan capîa became e maîn im producîon and dîsrîbuîon cenre în e ïberîan Penînsua. Consequeny, î was aso e mos împoran exîbîîon cenre. ïn 1911 Adrîà Gua, a promînen Caaan paywrîg and im-maker, saîd în a ecure (încuded în îs bookLes Orîenacîons[1911]) a Barceona ‘was one o e paces în e word were e specace o im projecîon as more appea’. A a îme e cîy ad 139 movîe eares or a popuaîon o approxîmaey a a mîîon. ïn e years oowîng e înroducîon o cînema, a e mos împoran European im companîes – umîère, Paé, Gaumon, Méîès, Urban, ec. – opened brances în Barceona or reguary sowed eîr movîes ere. Soon ater, ey sared imîng e cîy. Beween June 1896 and December 1897, umîère operaors so scenes în e Barceona por, some mîîary parades and a buig – subjecs a oer companîes, oca and oreîgn, woud aso revîsî în e uure. he Paé coecîon aso sared o încude

8îôLàçîôŝFôW| Barcelona

Text by JOAN M. w MINGUET BATLLORI

newsrees imed în e cîy. Pîoneer Segundo de Comón, beore e became a specîaîs în rîck cînemaograpy and în anasy cînema, made ims or Paé, suc asPromenade dans le por de Barcelone(1901),Vue panoramîque de Barcelone (1901),Course de aureaux à Barcelone(1901), Panorama cîrculaîre de Barcelone e ses envîrons/ Vîew of Barcelona and Surroundîngs(1903), Panorama de Tîbîdabo – Espagne(1903),Course de aureaux aux arènes de Barcelone/Bullig a e Barcelona Arena(1903) andBarcelone – Parc au crépuscule/Barcelona Park a Twîlîg(1904), among oers. ïn ese movîes, wîc were aso dîsrîbued by Paé, some o e mos embemaîc Barceona sîes can be seen: e Tîbîdabo unîcuar, e cîy’s buigîng rîngs, e Parc de a Cîuadea, and e ever presen por. Comón aso so one icîon im,L’ereu de Can Pruna(1904), îmîaîngHow a Frenc Nobleman Go a Wîfe hroug e New York Herald Personal Columns(1904), wîc was a case movîe made by Edwîn S. Porer a ad been very successu în Barceona. Comón’s im sowed severa andscapes o e ouskîrs o e cîy. he Spanîs im-maker aso coaboraed în e im programmes o e Saa Mercè, a eare desîgned by ar nouveau arcîec Anonî Gaudí on e popuar as Rambas, and were în 1904 and 1905 ‘akîng movîes’ were adverîsed – în ru, acors o Adrîà Gua’s eare company recîed e dîaogues beînd e screen. oca im-makers soon sared o soo sree scenes în wîc e cîy was dîspayed în a îs gory. Many o ose movîes are os, bu we know o eîr exîsence roug newspaper arîces and revîews, or announcemens o e im programmes o e Barceona movîe eares. Sarîng în 1899, pîoneer Frucuós Geaber began sooîng many scenes o e îe o e cîy: workers exîîng a España ïndusrîa acory, peope eavîng e Sana María de Sans curc, or e arrîva o e raîn o e Nore de Barceona