Sally Faulkner – författare

ALL FOR MY CHILDREN is Sally Faulkner's unforgettable true story, showing how one Australian mother's life fractured in the moment she kissed her kids goodbye. This is a book Sally had to write, because it is the only way her children Lahela and Noah will know she never stopped trying to bring them home.In May 2015, Sally hugged her children as they left Australia for a two-week holiday to Beirut with their father, Ali Elamine. Though separated, custody of two-year-old Noah and four-year-old Lahela had not been an issue. The kids lived with Sally in Brisbane and their dad often visited from his home in Lebanon. To Sally, everything seemed fine.Twenty-four hours after that farewell, Ali said, 'The kids aren't coming back.' It was every parent's nightmare . . . and it was only going to get worse. After ten months without any contact with her children, missing birthdays and her daughter's first day at school, Sally had exhausted every avenue she could - pleading with Ali, using the courts, calling government departments and contacting the media.Waking in a Beirut prison cell handcuffed to a 60 MINUTES television reporter, Sally couldn't help asking herself . . . how did I get here? Looking back, 21-year-old Sally had scored her dream life as an Emirates flight attendant. She was dazzled by a world far removed from the suburbs of Brisbane. Then, she met Ali, a charismatic charmer with a Californian accent, who she thought was the perfect man, married him and had the children she'd always hoped for. But her dream life didn't last.

A History of Spanish Film explores Spanish film from the beginnings of the industry to the present day by combining some of the most exciting work taking place in film studies with some of the most urgent questions that have preoccupied twentieth-century Spain. It addresses new questions in film studies, like 'prestige film' and 'middlebrow cinema', and places these in the context of a country defined by social mobility, including the 1920s industrial boom, the 1940s post-Civil War depression, and the mass movement into the middle classes from the 1960s onwards. Close textual analysis of some 42 films from 1910-2010 provides an especially useful avenue into the study of this cinema for the student.- Uniquely offers extensive close readings of 42 films, which are especially useful to students and teachers of Spanish cinema.- Analyses Spanish silent cinema and films of the Franco era as well as contemporary examples.- Interrogates film's relations with other media, including literature, pictorial art and television.- Explores both 'auteur' and 'popular' cinemas.- Establishes 'prestige' and the 'middlebrow' as crucial new terms in Spanish cinema studies.- Considers the transnationality of Spanish cinema throughout its century of existence.- Contemporary directors covered in this book include Almodóvar, Bollaín, Díaz Yanes and more.

Middlebrow Cinema challenges an often uninterrogated hostility to middlebrow culture that frequently dismisses it as conservative, which it often is not, and feminized or middle-class, which it often is. The volume defines the term relationally against shifting concepts of ‘high’ and ‘low’, and considers its deployment in connection with text, audience and institution.In exploring the concept of the middlebrow, this book recovers films that were widely meaningful to contemporary audiences, yet sometimes overlooked by critics interested in popular and arthouse extremes. It also addresses the question of socially-mobile audiences, who might express their aspirations through film-watching; and traces the cultural consequences of the movement of films across borders and between institutions. The first study of its kind, the volume comprises 11 original essays that test the purchase of the term ‘middlebrow’ across cultures, including those of Europe, Asia and the Americas, from the 1930s to the present day. Middlebrow Cinema brings into view a popular and aspirational - and thus especially relevant and dynamic - area of film and film culture. Ideal for students and researchers in this area, this book: Remaps ‘Popular’ and ‘arthouse’ approaches Explores British, Chinese, French, Indian, Mexican, Spanish ‘national’ cinemas alongside Continental, Hollywood, Queer, Transnational cinemas Analyses Biopic, Heritage, Historical Film, Melodrama, Musical, Sex Comedy genres.

Middlebrow Cinema challenges an often uninterrogated hostility to middlebrow culture that frequently dismisses it as conservative, which it often is not, and feminized or middle-class, which it often is. The volume defines the term relationally against shifting concepts of ‘high’ and ‘low’, and considers its deployment in connection with text, audience and institution.In exploring the concept of the middlebrow, this book recovers films that were widely meaningful to contemporary audiences, yet sometimes overlooked by critics interested in popular and arthouse extremes. It also addresses the question of socially-mobile audiences, who might express their aspirations through film-watching; and traces the cultural consequences of the movement of films across borders and between institutions. The first study of its kind, the volume comprises 11 original essays that test the purchase of the term ‘middlebrow’ across cultures, including those of Europe, Asia and the Americas, from the 1930s to the present day. Middlebrow Cinema brings into view a popular and aspirational - and thus especially relevant and dynamic - area of film and film culture. Ideal for students and researchers in this area, this book: Remaps ‘Popular’ and ‘arthouse’ approaches Explores British, Chinese, French, Indian, Mexican, Spanish ‘national’ cinemas alongside Continental, Hollywood, Queer, Transnational cinemas Analyses Biopic, Heritage, Historical Film, Melodrama, Musical, Sex Comedy genres.

This open access book offers a feminist cultural history of Spain of the 1970s, exploring the work of women in the audio-visual industries who joined the workforce in significant numbers over this decade of Transition from the Franco dictatorship, to a democracy that enshrined gender equality in its constitution of 1978.Leading Women in Spanish Cinema and Television in the Long 1970s seeks the work of women in new places and analyses it in new ways. Rejecting the director-auteur approach, which has endured for over seventy-five years in both Film and Television Studies - despite the fact that it tends to occlude the work of women - the authors look instead at below-the-line roles in cinema, and at television. In particular, they investigate editing, forgotten or overlooked areas of television broadcasting, such as children’s programming, and film activism in the period, such as in the co-operative Drac Màgic: in these places the work of women can be found.The ebook editions of this book are available open access under a CC BY-NC-ND 4.0 licence on bloomsburycollections.com. Open access was funded by The Arts and Humanities Research Council.

Were it not for authoritarian state censorship, Cecilia Bartolomé’s name would figure alongside those of her contemporaries Agnès Varda and Claire Denis as a pioneering feminist filmmaker of the twentieth century. With this bold claim, this book seeks both to write the history of Bartolomé’s extant filmography, and speculate about censored and un-filmed work, thereby fashioning a new way of writing a feminist creative life in film.The first volume on this director to be written in English, The Cinema of Cecilia Bartolomé is also the first volume on the director published in any language for over twenty years. By focusing on Spanish-language cinema of the 1960s-90s, the period when feminism, like democracy, was re-born and seemingly consolidated in Spain, the study brings historical depth and transnational reach to current debates in the wake of #MeToo.

Were it not for authoritarian state censorship, Cecilia Bartolomé’s name would figure alongside those of her contemporaries Agnès Varda and Claire Denis as a pioneering feminist filmmaker of the twentieth century. With this bold claim, this book seeks both to write the history of Bartolomé’s extant filmography, and speculate about censored and un-filmed work, thereby fashioning a new way of writing a feminist creative life in film.The first volume on this director to be written in English, The Cinema of Cecilia Bartolomé is also the first volume on the director published in any language for over twenty years. By focusing on Spanish-language cinema of the 1960s-90s, the period when feminism, like democracy, was re-born and seemingly consolidated in Spain, the study brings historical depth and transnational reach to current debates in the wake of #MeToo.

A History of Spanish Film explores Spanish film from the beginnings of the industry to the present day by combining some of the most exciting work taking place in film studies with some of the most urgent questions that have preoccupied twentieth-century Spain. It addresses new questions in film studies, like 'prestige film' and 'middlebrow cinema', and places these in the context of a country defined by social mobility, including the 1920s industrial boom, the 1940s post-Civil War depression, and the mass movement into the middle classes from the 1960s onwards. Close textual analysis of some 42 films from 1910-2010 provides an especially useful avenue into the study of this cinema for the student.- Uniquely offers extensive close readings of 42 films, which are especially useful to students and teachers of Spanish cinema.- Analyses Spanish silent cinema and films of the Franco era as well as contemporary examples.- Interrogates film's relations with other media, including literature, pictorial art and television.- Explores both 'auteur' and 'popular' cinemas.- Establishes 'prestige' and the 'middlebrow' as crucial new terms in Spanish cinema studies.- Considers the transnationality of Spanish cinema throughout its century of existence.- Contemporary directors covered in this book include Almodóvar, Bollaín, Díaz Yanes and more.

A History of Spanish Film explores Spanish film from the beginnings of the industry to the present day by combining some of the most exciting work taking place in film studies with some of the most urgent questions that have preoccupied twentieth-century Spain. It addresses new questions in film studies, like 'prestige film' and 'middlebrow cinema', and places these in the context of a country defined by social mobility, including the 1920s industrial boom, the 1940s post-Civil War depression, and the mass movement into the middle classes from the 1960s onwards. Close textual analysis of some 42 films from 1910-2010 provides an especially useful avenue into the study of this cinema for the student.- Uniquely offers extensive close readings of 42 films, which are especially useful to students and teachers of Spanish cinema.- Analyses Spanish silent cinema and films of the Franco era as well as contemporary examples.- Interrogates film's relations with other media, including literature, pictorial art and television.- Explores both 'auteur' and 'popular' cinemas.- Establishes 'prestige' and the 'middlebrow' as crucial new terms in Spanish cinema studies.- Considers the transnationality of Spanish cinema throughout its century of existence.- Contemporary directors covered in this book include Almodóvar, Bollaín, Díaz Yanes and more.

New readings of 20th-century literary cinematic texts are presented here in historical context, informed by cultural theory.New readings of literary and cinematic texts are presented here in historical context, informed by cultural theory. In her survey of the history of Spanish cinema in the dictatorship and democratic periods, the author argues thatstudies of adaptations must simultaneously address questions of 'text' - formal issues central to the study of film and literature - and 'context' - ideological concerns crucial to late twentieth-century Spain. She examines threethemes of particular importance to contemporary Spanish culture - the recuperation of history, the negotiation of the rural and the urban, and the representation of gender - and considers the related stylistic issues of the affinities between cinematic expression and nostalgia, the city and phallocentrism. The study concludes with an analysis of the formal question of the narrator in film and literature, through an assessment of Buñuel's previously unacknowledged stylistic debt to Galdós as manifested in his adaptations of Nazarín and Tristana.SALLY FAULKNER is Lecturer in Hispanic Studies at the University of Exeter.

From Hollywood dreams to Nazi nightmares- the truth Sally Faulkner kept buried from the world for decades.

Una historia del cine español indaga en el cine de España, desde los comienzos de la industria hasta la actualidad, combinando los más prometedores enfoques de los estudios sobre cine con algunas de las cuestiones más apremiantes que han preocupado a la España del siglo XX. Aborda nuevos temas de los estudios sobre cine (los conceptos, por ejemplo, de película "de prestigio" y cine middlebrow) y los sitúa en el contexto de un país caracterizado por la movilidad social, incluyendo el boom industrial de los años veinte, la depresión de los cuarenta tras la Guerra Civil, y el movimiento masivo hacia la clase media a partir de los años sesenta. El análisis textual pormenorizado de unas cuarenta y dos películas de entre 1910 y 2010 ofrece una vía de acceso especialmente útil a la cinematografía española."Una mezcla de investigación rigurosa, conciencia teórica, análisis crítico y escritura elegante." ― Peter Evans, profesor emérito en la Queen Mary University of London."No existe nada verdaderamente comparable a esta Historia del cine español de Sally Faulkner. Este volumen vasto y ambicioso combina un atractivo relato general de la vital cinematografía española con unos soberbios análisis pormenorizados de títulos concretos. Sitúa, además, hábilmente cuestiones artísticas y culturales en contextos sociales e históricos. Este libro es lectura imprescindible tanto para quienes ya conozcan el cine español, como para quienes deseen descubrirlo." ― Paul Julian Smith, The City University of New York.

La década de 1960, clave en el cine internacional, también supuso una época crucial de cambios en España. Un cine contradictorio estudia en profundidad este periodo a través de ocho filmes que reflejan e interpretan tales transformaciones. La coexistencia de valores tradicionales y modernos, así como la tímida aceptación de limitados cambios por parte de la dictadura franquista son síntomas de una modernidad desigual que caracteriza estos años. La contradicción, efecto inevitable de dicha desigualdad, constituye el terreno conceptual desde el que se abordan las obras de estos ocho cineastas.El libro analiza el cine popular, los filmes de arte y ensayo del Nuevo Cine Español, y las películas "no vistas", debido a la censura. Se exploran no solo las contradicciones en los temas, sino también en los contextos de producción, para propugnar una nueva lectura de la década. Se ponen de relieve los solapamientos entre cinematografías populares y de arte y ensayo, se revela que las películas del Nuevo Cine Español fueron ellas mismas los contradictorios productos de la protección que el Estado brindaba a cintas que se le oponían ideológicamente, y se cuestiona si las más significativas películas españolas de la década fueron las "no vistas" en España durante la misma.Un cine contradictorio es la traducción de la versión inglesa publicada en 2006, con una nueva introducción actualizada y con dos capítulos adicionales."Se trata de un excelente estudio de las películas españolas más interesantes de la década de 1960. El elegante análisis de Sally Faulkner se dedica tanto a películas poco conocidas como a otras más famosas de un período de transición. El libro es una importante contribución para nuestra comprensión del cine español de los años sesenta en sus tradiciones de cine popular y artístico". PETER EVANS, profesor emérito en la Queen Mary University of London.