Tom Whittaker – författare

This is the first major study in English of cine quinqui, a cycle of popular Spanish films from the late 1970s and early 1980s that starred real-life juvenile delinquents. The book provides a close analysis of key quinqui films by directors such as Eloy de la Iglesia, José Antonio de la Loma and Carlos, as well as the moral panics, public fears and media debates that surrounded their controversial production and reception. In paying particular attention to the soundtrack of the films, the book shows how marginal youth cultures during Spain’s transition to democracy were shaped by sound. It will be of interest to scholars and students of Spanish film, history and cultural studies, and those working in sound studies and youth subcultures more broadly.

Where is the place of the voice in film? Where others have focused on Hollywood film, this volume aims to extend the field to other cinemas from around the world, encompassing Latin America, Asia and Africa amongst others. Traditional theoretical accounts, based on classical narrative cinema, examine the importance of the voice in terms of a desired perfect match between visuals and sonic effects. But, as the chapters of this volume illustrate, what is normative in one film industry may not apply in another. The widespread practices of dubbing, postsynch sound and "playback singing" in some countries, for instance, provide an alternative means of understanding the location of the voice in the soundtrack. Through seventeen original chapters, this volume situates the voice in film across a range of diverse national, transnational and cultural contexts, presenting readings which challenge traditional readings of the voice in film in exciting new ways. By taking a comparative view, this volume posits that the voice may be best understood as a mobile object, one whose trajectory follows a broader network of global flows. The various chapters explore the cultural transformations the voice undergoes as it moves from one industry to another. In doing so, the volume addresses sound practices which have been long been neglected, such as dubbing and non-synch sound, as well the ways in which sound technologies have shaped nationally specific styles of vocal performance. In addressing the place of the voice in film, the book intends to nuance existing theoretical writing on the voice while applying these critical insights in a global context.

Where is the place of the voice in film? Where others have focused on Hollywood film, this volume aims to extend the field to other cinemas from around the world, encompassing Latin America, Asia and Africa amongst others. Traditional theoretical accounts, based on classical narrative cinema, examine the importance of the voice in terms of a desired perfect match between visuals and sonic effects. But, as the chapters of this volume illustrate, what is normative in one film industry may not apply in another. The widespread practices of dubbing, postsynch sound and "playback singing" in some countries, for instance, provide an alternative means of understanding the location of the voice in the soundtrack. Through seventeen original chapters, this volume situates the voice in film across a range of diverse national, transnational and cultural contexts, presenting readings which challenge traditional readings of the voice in film in exciting new ways. By taking a comparative view, this volume posits that the voice may be best understood as a mobile object, one whose trajectory follows a broader network of global flows. The various chapters explore the cultural transformations the voice undergoes as it moves from one industry to another. In doing so, the volume addresses sound practices which have been long been neglected, such as dubbing and non-synch sound, as well the ways in which sound technologies have shaped nationally specific styles of vocal performance. In addressing the place of the voice in film, the book intends to nuance existing theoretical writing on the voice while applying these critical insights in a global context.

Where is the place of the voice in film? Where others have focused on Hollywood film, this volume aims to extend the field to other cinemas from around the world, encompassing Latin America, Asia and Africa amongst others. Traditional theoretical accounts, based on classical narrative cinema, examine the importance of the voice in terms of a desired perfect match between visuals and sonic effects. But, as the chapters of this volume illustrate, what is normative in one film industry may not apply in another. The widespread practices of dubbing, postsynch sound and "playback singing" in some countries, for instance, provide an alternative means of understanding the location of the voice in the soundtrack. Through seventeen original chapters, this volume situates the voice in film across a range of diverse national, transnational and cultural contexts, presenting readings which challenge traditional readings of the voice in film in exciting new ways. By taking a comparative view, this volume posits that the voice may be best understood as a mobile object, one whose trajectory follows a broader network of global flows. The various chapters explore the cultural transformations the voice undergoes as it moves from one industry to another. In doing so, the volume addresses sound practices which have been long been neglected, such as dubbing and non-synch sound, as well the ways in which sound technologies have shaped nationally specific styles of vocal performance. In addressing the place of the voice in film, the book intends to nuance existing theoretical writing on the voice while applying these critical insights in a global context.

Where is the place of the voice in film? Where others have focused on Hollywood film, this volume aims to extend the field to other cinemas from around the world, encompassing Latin America, Asia and Africa amongst others. Traditional theoretical accounts, based on classical narrative cinema, examine the importance of the voice in terms of a desired perfect match between visuals and sonic effects. But, as the chapters of this volume illustrate, what is normative in one film industry may not apply in another. The widespread practices of dubbing, postsynch sound and "playback singing" in some countries, for instance, provide an alternative means of understanding the location of the voice in the soundtrack. Through seventeen original chapters, this volume situates the voice in film across a range of diverse national, transnational and cultural contexts, presenting readings which challenge traditional readings of the voice in film in exciting new ways. By taking a comparative view, this volume posits that the voice may be best understood as a mobile object, one whose trajectory follows a broader network of global flows. The various chapters explore the cultural transformations the voice undergoes as it moves from one industry to another. In doing so, the volume addresses sound practices which have been long been neglected, such as dubbing and non-synch sound, as well the ways in which sound technologies have shaped nationally specific styles of vocal performance. In addressing the place of the voice in film, the book intends to nuance existing theoretical writing on the voice while applying these critical insights in a global context.

The Films of Elias Querejeta: A Producer of Landscapes is the first book in English to explore the career of Spain's most important producer. Through their recurring emphasis on landscape, his films have consistently documented a country in the grip of modernization from the 1960s to the present day. In particular, this book investigates the ways in which landscape in his productions can be understood as a site of political struggle against Francoism and Spain's embrace of neoliberal capitalism. In bringing together both the importance of cinematic and spatial production, the twin focus of this book intends not only to make an original contribution to Film Studies, but also to Spanish Cultural Studies and Cultural Geography

This book explores the work of Elias Querejeta, Spain''s most important and political producer, through a particular emphasis on the representation of landscape in his films. In doing so, the book examines the ways in Spanish history has been shaped by geographical change since the 1960s.

Performance and Spanish film is the first book to provide a detailed study of screen acting in Spanish film. With fifteen original essays by leading scholars of Spanish film, the book casts light on the manifold meanings, methods and influences of Spanish screen performance, from the silent era to the present day. In doing so, the book provides bold new readings of the work of significant Spanish actors and filmmakers, from Javier Bardem, Penélope Cruz and Alfredo Landa, to Pedro Almodóvar, Carlos Saura and Alejandro Amenábar. The fine-grained study of acting in each chapter also provides a means of exploring broader questions surrounding Spanish film practices, culture and society.Performance and Spanish film will be essential reading for both students and scholars of Spanish film alike, as well as to those more broadly interested in the history of screen acting.'For enthusiasts of Spanish cinema and anyone bewitched by screen acting, this is a dream book. The editors bring together some of the most exciting and imaginative experts on Spanish Cinema writing in English today, as well as presenting a substantial and brilliant introduction to the topic. Each chapter has its own compelling revelations, whether by way of fine-grained analysis or wide new conceptual framings, whether on single named actors, particular films, modes of training, or successive new ways of making films.'Chris Perriam, Professor of Hispanic Studies, the University of Manchester

This is the first major study in English of cine quinqui, a cycle of popular Spanish films from the late 1970s and early 1980s that starred real-life juvenile delinquents. The book provides a close analysis of key quinqui films by directors such as Eloy de la Iglesia, José Antonio de la Loma and Carlos, as well as the moral panics, public fears and media debates that surrounded their controversial production and reception. In paying particular attention to the soundtrack of the films, the book shows how marginal youth cultures during Spain’s transition to democracy were shaped by sound. It will be of interest to scholars and students of Spanish film, history and cultural studies, and those working in sound studies and youth subcultures more broadly.

This is the first major study in English of cine quinqui, a cycle of popular Spanish films from the late 1970s and early 1980s that starred real-life juvenile delinquents. The book provides a close analysis of key quinqui films by directors such as Eloy de la Iglesia, José Antonio de la Loma and Carlos, as well as the moral panics, public fears and media debates that surrounded their controversial production and reception. In paying particular attention to the soundtrack of the films, the book shows how marginal youth cultures during Spain’s transition to democracy were shaped by sound. It will be of interest to scholars and students of Spanish film, history and cultural studies, and those working in sound studies and youth subcultures more broadly.

This is the first major study in English of cine quinqui, a cycle of popular Spanish films from the late 1970s and early 1980s that starred real-life juvenile delinquents. The book provides a close analysis of key quinqui films by directors such as Eloy de la Iglesia, José Antonio de la Loma and Carlos, as well as the moral panics, public fears and media debates that surrounded their controversial production and reception. In paying particular attention to the soundtrack of the films, the book shows how marginal youth cultures during Spain’s transition to democracy were shaped by sound. It will be of interest to scholars and students of Spanish film, history and cultural studies, and those working in sound studies and youth subcultures more broadly.