What makes trash trash? How do we decide what to throw away? Driven by these questions and others, Samuel Amago takes us through the streets and alleys of Spain, sorting through recycling bins, libraries, social media, bookstores, and message boards in search of things that have been forgotten, jettisoned, forsaken. Ranging in topic from the transformation of urban space during the transition to democracy to a twenty-first-century sanitation strike that paralyzed Madrid for weeks, from the films of Pedro Almodóvar to graphic novels about Spain’s housing crisis, Basura presents an alternative story of contemporary Spanish culture through the lens of wasted things.

Not merely an environmental problem, the proliferation of trash is an indicator of the social, political, and economic processes that undergird late, neoliberal capitalism. In chapters on cinema, photography, archaeology, drawing, comics, literature, ecology, and urban design, Amago places waste objects into dialogue with the cultural practices and structures of power that have produced them. Drawing from archaeological, ecocritical, and new materialist approaches, Amago argues that discards possess agency and generate an array of effects. Just as trash never fully disappears but returns to haunt its creators, so history never vanishes despite being buried or ignored by official narratives. Basura considers the efforts of artists, writers, and designers for whom waste is a means to withstand cultural erasure.

Across a broad spectrum of media, markets, and national contexts, self-reflexivity continues to be a favored narrative mode with wide ranging functions. In this book Amago argues that, in addition to making visible industry and production concerns within the film text, reflexive aesthetics have a cartographic function that serves to map the place of a film (geographic and cultural) within the global cinemascape, and thus to bring into sharper relief images of the national. Focusing on films in the contemporary Spanish context that in some way reflect back on themselves and the processes of their own production, that purposefully blur the distinction between reality and fiction, or that draw attention to the various modes of cinematic exhibition and reception, Amago proposes ways in which these movies can be employed to understand Spanish national cinemas today as imbedded within a dynamic global system.

Across a broad spectrum of media, markets, and national contexts, self-reflexivity continues to be a favored narrative mode with wide ranging functions. In this book Amago argues that, in addition to making visible industry and production concerns within the film text, reflexive aesthetics have a cartographic function that serves to map the place of a film (geographic and cultural) within the global cinemascape, and thus to bring into sharper relief images of the national. Focusing on films in the contemporary Spanish context that in some way reflect back on themselves and the processes of their own production, that purposefully blur the distinction between reality and fiction, or that draw attention to the various modes of cinematic exhibition and reception, Amago proposes ways in which these movies can be employed to understand Spanish national cinemas today as imbedded within a dynamic global system.

Spanish comics have attracted considerable critical attention internationally: dissertations have been written, monographs have been published, and an array of cultural institutions in Spain (the media, publishing houses, bookstores, museums, and archives) have increasingly promoted the pleasures, pertinence, and power of graphic narrative to an ever-expanding readership – all in an area of cultural production that was held, until recently, to be the stuff of child’s play, the unenlightened, or the unsophisticated. This volume takes up the charge of examining how contemporary comics in Spain have confronted questions of cultural legitimacy through serious and timely engagement with diverse themes, forms, and approaches – a collective undertaking that, while keenly in step with transnational theoretical trends, foregrounds local, regional, and national dimensions particular to the late twentieth- and early twenty-first-century Spanish milieu. From memory and history to the economic and the political, and from the body and personal space to mental geography, the essays collected in Consequential Art account for several key ways in which a range of comics practitioners have deployed the image-text connection and alternative methods of seeing to interrogate some of the most significant cultural issues in Spain.

What makes trash trash? How do we decide what to throw away? Driven by these questions and others, Samuel Amago takes us through the streets and alleys of Spain, sorting through recycling bins, libraries, social media, bookstores, and message boards in search of things that have been forgotten, jettisoned, forsaken. Ranging in topic from the transformation of urban space during the transition to democracy to a twenty-first-century sanitation strike that paralyzed Madrid for weeks, from the films of Pedro Almodóvar to graphic novels about Spain’s housing crisis, Basura presents an alternative story of contemporary Spanish culture through the lens of wasted things.

Not merely an environmental problem, the proliferation of trash is an indicator of the social, political, and economic processes that undergird late, neoliberal capitalism. In chapters on cinema, photography, archaeology, drawing, comics, literature, ecology, and urban design, Amago places waste objects into dialogue with the cultural practices and structures of power that have produced them. Drawing from archaeological, ecocritical, and new materialist approaches, Amago argues that discards possess agency and generate an array of effects. Just as trash never fully disappears but returns to haunt its creators, so history never vanishes despite being buried or ignored by official narratives. Basura considers the efforts of artists, writers, and designers for whom waste is a means to withstand cultural erasure.

Across a broad spectrum of media, markets, and national contexts, self-reflexivity continues to be a favored narrative mode with wide ranging functions. In this book Amago argues that, in addition to making visible industry and production concerns within the film text, reflexive aesthetics have a cartographic function that serves to map the place of a film (geographic and cultural) within the global cinemascape, and thus to bring into sharper relief images of the national. Focusing on films in the contemporary Spanish context that in some way reflect back on themselves and the processes of their own production, that purposefully blur the distinction between reality and fiction, or that draw attention to the various modes of cinematic exhibition and reception, Amago proposes ways in which these movies can be employed to understand Spanish national cinemas today as imbedded within a dynamic global system.

Across a broad spectrum of media, markets, and national contexts, self-reflexivity continues to be a favored narrative mode with wide ranging functions. In this book Amago argues that, in addition to making visible industry and production concerns within the film text, reflexive aesthetics have a cartographic function that serves to map the place of a film (geographic and cultural) within the global cinemascape, and thus to bring into sharper relief images of the national. Focusing on films in the contemporary Spanish context that in some way reflect back on themselves and the processes of their own production, that purposefully blur the distinction between reality and fiction, or that draw attention to the various modes of cinematic exhibition and reception, Amago proposes ways in which these movies can be employed to understand Spanish national cinemas today as imbedded within a dynamic global system.

Spanish comics have attracted considerable critical attention internationally: dissertations have been written, monographs have been published, and an array of cultural institutions in Spain (the media, publishing houses, bookstores, museums, and archives) have increasingly promoted the pleasures, pertinence, and power of graphic narrative to an ever-expanding readership – all in an area of cultural production that was held, until recently, to be the stuff of child’s play, the unenlightened, or the unsophisticated. This volume takes up the charge of examining how contemporary comics in Spain have confronted questions of cultural legitimacy through serious and timely engagement with diverse themes, forms, and approaches – a collective undertaking that, while keenly in step with transnational theoretical trends, foregrounds local, regional, and national dimensions particular to the late twentieth- and early twenty-first-century Spanish milieu. From memory and history to the economic and the political, and from the body and personal space to mental geography, the essays collected in Consequential Art account for several key ways in which a range of comics practitioners have deployed the image-text connection and alternative methods of seeing to interrogate some of the most significant cultural issues in Spain.