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Conflict and Controversy in Small Cinemas

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Edited By Janina Falkowska and Krzysztof Loska

This book examines small cinemas and their presentation of society in times of crisis and conflict from an interdisciplinary and intercultural point of view. The authors concentrate on economic, social and political challenges and point to new phenomena which have been exposed by film directors. They present essays on, among others, Basque cinema; gendered controversies in post-communist small cinemas in Slovakia and Czech Republic; ethnic stereotypes in the works of Polish filmmakers; stereotypical representation of women in Japanese avant-garde; post-communist political myths in Hungary; the separatist movements of Catalonia; people in diasporas and during migrations. In view of these timely topics, the book touches on the most serious social and political problems. The films discussed provide an excellent platform for enhancing debates on politics, gender, migration and new aesthetics in cinema at departments of history, sociology, literature and film.

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1. A call for freedom in the Spanish cinema (from a local perspective) (Iwona Kolasińska-Pasterczyk)

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Iwona Kolasińska-Pasterczyk

Instytut Sztuk Audiowizualnych, Uniwersytet Jagielloński, Poland

1. A call for freedom in the Spanish cinema (from a local perspective)

Abstract: My presentation focuses on independence and separatist tendencies of Catalonia in Spain, as well as on national and ethnic stereotypes in Catalonian identities as expressed in cinema. Freedom Trilogy (Victoria 1, 2, and 3 from 1983 to 1984 by Antoni Ribas), which represents Catalonian regional cinema, serves as a basis for understanding of the identification with a community and the perception of the local distinction. The film communicates an important independence issue: Freedom Trilogy is a historical fresco dealing with separate national and ethnic identity of Catalonia.

Keywords: Microregionalism, cinema Catalan, national identity, cine autonómico, Catalan identity, Catalan culture, historical super productions, Victoria 1, 2, 3

A historical reconstruction enables the recovery of a lost memory.1 In the case of Catalonia, a turn towards the past in the Spanish cinema that started in the so-called “transition period” (1975–1982) had a special significance because of the importance of nationalist tendencies that were present in the region. The Catalan cinema, as a cinematography separate from the national one, first appeared after the first free elections in Spain held on 15 June 1977 and granted some national groups and regions a certain level of autonomy (including Catalonia and the Basque Country). The Catalan Cinema Institute was created by a group of Catalan cinematographers...

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