By Chris Perriam
Because the Catalan govt handed the 1st of Spain's local governmental legislation on same-sex partnership in 1998, lesbian, homosexual, bisexual, transsexual and queer tradition in Spain has thrived. Spanish Queer Cinema assesses the impression of this crucial cultural expression on Spanish Cinema and evaluates the position LGBTQ movie has had in developing and shaping identification and experience.
Focusing on movies from 1998 to the current day, Chris Perriam skilfully analyses the improvement of LGBTQ filmmaking and filmwatching in Spain and areas this in the wider cultural context. masking lesbian cinema, homosexual and queer documentaries and brief motion pictures, in addition to mainstream positive factors, the publication investigates how LGBTQ motion pictures are dispensed and the way audiences react to them. It comprises discussions of movie gala's, cultural centres and social networking websites and it locations the filmwatching event in the context of alternative cultural actions reminiscent of tv viewing, examining, browsing, downloading and festival-going. It assesses the significance and impression of Spanish queer cinema at the building of LGBTQ identities and experiences.
An informative and thought-provoking ebook, Spanish Queer Cinema is an important learn for college students and students operating within the fields of movie reviews, Spanish experiences and Cultural reviews.
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Additional resources for Spanish Queer Cinema
Example text
Esteban (1999a) notes that the films of the Transition might appear outdated to current Spanish audiences but from an outside perspective (in this case, from the Thirteenth Tokyo International Gay Film Festival’s Spanish retrospective) may be recognised as examples of ‘cine aperturista, arriesgado y transgresor’ (70) (‘opening up new debates, daring and transgressive’). indd 40 29/11/2012 14:42 LEGACIES film-makers such as Juanma Carrillo and Rut Suso (see Chapter 4) exhibit this mix of qualities, as do those deploying uncompromising narratives to make visible (rather than to normalise) aspects of LGBTQ experience, such as Antonio Hens or Blanca H.
In the short films too (and in at least one documentary already discussed – Campillo sí, quiero) there is frequently a mix of conventional structuring (including the structuring of concepts) with anti-normative actions, motivations or declarations and dialogue. Examples are: A oscuras (In the Dark) (Eli Navarro, 2009) which uses the double convention of the power cut and confined spaces to spring secrets and confessions; and Yo sólo miro (I Only Watch) (Gorka Cornejo, 2008) which like many short films relies on a late-reveal twist, switching from a brutal focus on deception by a closeted husband in a heterosexual marriage (in a way a staple tale) to an unusual exploration of vicariousness, substitution and desolation as elements in his wife’s sexuality.
Indd 40 29/11/2012 14:42 LEGACIES film-makers such as Juanma Carrillo and Rut Suso (see Chapter 4) exhibit this mix of qualities, as do those deploying uncompromising narratives to make visible (rather than to normalise) aspects of LGBTQ experience, such as Antonio Hens or Blanca H. Salazar in the satirical Bañophobia (Fear of the Ladies) (2009). Complementing and expanding upon work already done by Alfeo Álvarez (1999, 2001, 2003 [1997]), Melero (2010) explores the ways in which the sudden easing up of control over the cinematic image in the context of an ‘explosión de liberaciones’ (12) (‘a surge of liberalisation’) inflected the politics of representation and the sexual politics of Spanish cinema.
