By Tom Whittaker
The motion pictures of Elías Querejeta is the 1st e-book in English to discover the movies of Spain’s such a lot celebrated manufacturer, Elías Querejeta. Tom Whittaker highlights Querejeta’s habitual emphasis on panorama, arguing that it may be understood as a website of political fight opposed to Francoism and Spain’s include of neoliberal capitalism. In bringing jointly either the significance of cinematic and spatial construction, Whittaker’s research makes an unique contribution not just to movie stories but in addition to Spanish cultural reports and cultural geography.
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Extra info for The Films of Elías Querejeta: A Producer of Landscapes
72). Taking his cue from other international young cinemas (nouvelle vague, British new wave, cine nôvo), García Escudero designated the ﬁlms the nuevo cine español. Signiﬁcantly, the creation of Querejeta’s production company in 1963, Elías Querejeta Producciones Cinematográﬁcas, was made possible precisely because of these new reforms. Complicit in the promotion of Spain’s economic boom, his company can therefore be considered a product of capitalist modernity. 7 In a recent interview, García Escudero commented that: el más vivo de todos [los productores] fue Elías Querejeta, fue el que tuvo más inteligencia para montar una producción sobre el Interés Especial (.
60), while Juan bears out Martín-Santos’s claim that ‘el varón de los países subdesarrollados está crónicamente frustrado’ [the men from underdeveloped countries are chronically frustrated] (2004, p. 66). The somewhat Manichean contrast between the two characters is reinforced in their styles of acting: Juan delivers his dialogue tongue-tied, often turning his back away from Monique while speaking, and paces around endlessly with his ﬁsts clenched; Monique saunters as she walks, smokes in the street, and models her hairstyle on that of Jeanne Moreau, whose photo she admires in her copy of Paris Match, a magazine whose aesthetic was a reference point for Luis Cuadrado and other contemporary NCE cinematographers, such as Enrique Torán and Juan Julio Baena (Heredero, 2003, p.
Signiﬁcantly, this development was dependent upon rapid urbanization and coastal tourism, and these geographical transformations not only transformed the fabric of everyday life, but revealed acutely just how far Spanish society had been lagging behind the rest of western Europe. Economic liberalization suddenly threw into relief the static and conservative social mores of Franco’s Spain, creating a narrative of modernization fraught with social anxiety and unease. Nevertheless, it was precisely this narrative that shaped the thematic and formal concerns of Querejeta’s earliest collaborations, and provided the impetus for the nuevo cine español (NCE), in which Elías Querejeta Producciones Cinematográﬁcas would occupy a pivotal role.