A New History of Spanish Cinema: Middlebrow Films and Mainstream Audiences

西班牙电影的新史：中庸电影和主流观众

• 批准号: AH/I002316/1
• 负责人: Sally Faulkner
• 金额: $ 8.4万
• 依托单位: UNIVERSITY OF EXETER
• 依托单位国家: 英国
• 项目类别: Fellowship
• 财政年份: 2011
• 资助国家: 英国
• 起止时间: 2011 至 无数据
• 项目状态: 已结题
• 来源: https://gtr.ukri.org/projects?ref=AH%2FI002316%2F1
• 关键词: New; History; Spanish; Cinema; Middlebrow

This project aims to change the direction of studies of Spanish film history. It questions the over-use of labels such as 'art' or 'popular' cinema and proposes the 'middlebrow' as a new way of approaching Spanish film. First, it argues for the existence of Spanish 'middlebrow cinema', and suggests that middlebrow films have been central to the development of Spanish film history. This new focus illuminates the connections between a number of tendencies in Spanish cinema from the 1960s to the present. Thus, the so-called 'Third Way' cinema of the 1970s, state-subsidized literary adaptations known collectively as 'Miró' films in the 1980s, 'heritage' cinema of the 1990s, or 'popular auteurs', like Pedro Almodóvar, of the 1990s and 2000s, will all be reconsidered as examples of Spanish middlebrow cinema. Second, this project proposes the 'middlebrow' as a new methodological approach to Spanish film, which analyses, rather than condemns, the way such cinema lies in-between 'art' or 'popular' alternatives. Pierre Bourdieu, who has developed a theory of the middlebrow in connection with the French context, will offer a theoretical model for this approach. Third, this project focuses on the rise of Spain's middle classes from the 1960s onwards, and suggests that a new 'middlebrow' cinema developed to satisfy the tastes of these new mainstream audiences. The research will lead to the publication of 'A New History of Spanish Cinema', which will contain an introduction and six chapters. In the Introduction, I will argue for the importance of examining historical contexts in any analysis of Spanish cinema. However, instead of focusing on political events, like the death of Franco in 1975, I argue for the importance of socio-economic contexts. As such, the historical background I examine will highlight Spain's similarities with, rather than differences from, other Western nations (the importance of the middle class, rather than a focus on repressive dictatorship, although it will be noted that industrialization occurred far later in Spain than elsewhere). In this introduction I will also reject the negative connotations of the term 'middlebrow', and sketch a framework for its analysis using the theories of French sociologist Bourdieu. In chapter one, which focuses on the 1960s, I will address the treatment of this new ascendant class in diverse Spanish films, and trace the emergence of 'middlebrow' film in the period, for example with La gran familia (Palacios 1962), which focuses on a quintessential middle-class Madrid family. Chapter two, covering the 1970s, will address 'Third Way' cinema, and will argue that this should be considered as central to cultural expression in the period, rather than a marginal alternative to the political auteur films and crude commercial cinema which attract greater critical attention. When considering the 1980s, in chapter three, I will develop my previously published work on the state-subsidized cinema of democratic Spain's socialist government, known as the 'Miró' films. Previous histories of Spanish cinema argue that directors and producers from the 1990s onwards have turned their backs on the 'Miró' legacy. By addressing 'heritage' cinema and reconsidering the recent work of 'popular auteurs', such as Almodóvar (for instance in La flor de mi secreto [1995]), I will conclude that a concern to satisfy 'mainstream' audiences, through films which I argue are 'middlebrow', runs as a constant thread through this period of Spanish film history.

该项目旨在改变西班牙电影史研究的方向。它质疑过度使用“艺术”或“流行”电影等标签，并提出“中庸”作为接近西班牙电影的新方式。首先，它认为西班牙的“中产阶级电影”的存在，并建议，中产阶级电影一直是中央的西班牙电影史的发展。这个新的焦点阐明了从20世纪60年代到现在西班牙电影中的一些趋势之间的联系。因此，20世纪70年代所谓的“第三条道路”电影，20世纪80年代国家补贴的文学改编作品统称为“米罗”电影，20世纪90年代的“遗产”电影，或像佩德罗·阿尔莫多瓦尔这样的“流行导演”，在20世纪90年代和21世纪初，都将被重新视为西班牙中产阶级电影的例子。第二，这个项目提出了一个新的方法论的方法，以西班牙电影，分析，而不是谴责，这样的电影之间的“艺术”或“流行”的选择。皮埃尔·布迪厄（Pierre Bourdieu）发展了一种与法国背景有关的中庸理论，他将为这种方法提供一个理论模型。第三，这个项目的重点是从20世纪60年代起西班牙中产阶级的崛起，并建议开发一个新的“中产阶级”电影，以满足这些新的主流观众的口味。这项研究将导致出版“西班牙电影新历史”，其中将包括一个介绍和六个章节。在导言中，我将论证在任何西班牙电影分析中考察历史背景的重要性。然而，与其关注政治事件，如1975年佛朗哥之死，我认为社会经济背景的重要性。因此，我所考察的历史背景将突出西班牙与其他西方国家的相似之处，而不是不同之处（中产阶级的重要性，而不是对压迫性独裁的关注，尽管人们会注意到西班牙的工业化发生得比其他地方晚得多）。在这篇导言中，我也将拒绝“中庸之道”一词的负面含义，并使用法国社会学家布迪厄的理论勾勒出一个分析框架。在第一章中，重点是20世纪60年代，我将在不同的西班牙电影中处理这个新的上升阶层，并追溯这一时期“中产阶级”电影的出现，例如《家庭》（Palacios 1962），它关注一个典型的中产阶级马德里家庭。第二章，涵盖20世纪70年代，将讨论“第三条道路”电影，并将认为这应该被视为该时期文化表达的核心，而不是政治导演电影和粗糙的商业电影的边缘替代品，这些电影吸引了更多的批评关注。在第三章中，当考虑到20世纪80年代时，我将发展我以前发表的关于西班牙民主社会主义政府国家补贴电影的工作，被称为“米罗”电影。西班牙电影的历史表明，从20世纪90年代开始，导演和制片人已经放弃了“米罗”的遗产。通过讨论“传统”电影和重新考虑“流行导演”的近期作品，如Almodóvar（例如在La flor de mi secreto [1995]），我将得出结论，通过我认为是“中等”的电影来满足“主流”观众的关注，贯穿西班牙电影史的这一时期。

项目成果

A History of Spanish Film: Cinema and Society 1910-2010

西班牙电影史：1910-2010 年电影与社会

• 发表时间: 2013
• 作者: Faulkner S

Spanish Erotic Cinema

西班牙色情电影

• 发表时间: 2017
• 作者: Faulkner S

The Europeanness of European Cinema

欧洲电影的欧洲性

• 发表时间: 2015
• 作者: Faulkner S

Delayed Cinema and Feminist Discourse in Fernando Fernán-Gómez's El mundo sigue (1963/1965/2015)

费尔南多·费尔南-戈麦斯的《El mundo sigue》中延迟的电影和女权主义话语（1963/1965/2015）

• DOI: 10.3828/bhs.2017.51
• 发表时间: 2017
• 期刊: Bulletin of Hispanic Studies
• 作者: Faulkner S

A Companion to Spanish Cinema

西班牙电影的伴侣

• 发表时间: 2012
• 作者: Faulkner S