Contemporary Spanish Cinema

Abstract

Any national cinema may be approached from various perspectives. It may even be explored from the perspective of its own negation; that is, from a transnational perspective that questions its national identity. Spanish cinema as studied in this issue is no exception to this point, but rather an example that illustrates it with all its consequences. On the one hand, when referring to the cinematic medium in general, it is not possible to speak of a single type of cinema, but of different ways of conceiving of this medium of expression: commercial or popular films, genre films, auteur cinema, experimental films, and so on. An exhaustive overview of the national cinema of a country such as Spain needs to include all these cinematic variations. Similarly, a truly comprehensive study needs to incorporate different theoretical perspectives and methodological approaches. To take on such a variety of perspectives and classifications — and, furthermore, to propose a dialogue between them — will in no way undermine our understanding of the object of study (in this case, Spanish cinema); on the contrary, it will enrich it.