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The New Catalan Cinema: Regional/National Film Production in a Globalised Context

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The New Catalan Cinema: Regional/National Film Production in a Globalised Context Northumbria Research Link Citation: Allum, Stefanie (2016) The new Catalan cinema: regional/national film production in a globalised context. Doctoral thesis, Northumbria University. This version was downloaded from Northumbria Research Link: http://nrl.northumbria.ac.uk/id/eprint/36248/ Northumbria University has developed Northumbria Research Link (NRL) to enable users to access the University’s research output. Copyright © and moral rights for items on NRL are retained by the individual author(s) and/or other copyright owners. Single copies of full items can be reproduced, displayed or performed, and given to third parties in any format or medium for personal research or study, educational, or not-for-profit purposes without prior permission or charge, provided the authors, title and full bibliographic details are given, as well as a hyperlink and/or URL to the original metadata page. The content must not be changed in any way. Full items must not be sold commercially in any format or medium without formal permission of the copyright holder. The full policy is available online: http://nrl.northumbria.ac.uk/policies.html THE NEW CATALAN CINEMA: REGIONAL/NATIONAL FILM PRODUCTION IN A GLOBALISED CONTEXT SG ALLUM PhD 2016 THE NEW CATALAN CINEMA: REGIONAL/NATIONAL FILM PRODUCTION IN A GLOBALISED CONTEXT STEFANIE GRANT ALLUM A thesis submitted in partial fulfilment of the requirements of the University of Northumbria at Newcastle for the degree of Doctor of Philosophy Research Undertaken in the Faculty of Arts, Design & Social Sciences November 2016 1 Abstract The thesis explores the post-millennial boom in the production of Catalan films. Previous critical work on Catalan cinema has tended to focus primarily on documentary and realist forms. The research presented here maintains an interest in documentary as a key mode but it also examines historical and fantasy-based feature film production as important aspects of what has been termed the ‘New Catalan Cinema.’ It places a series of Catalan films in the contexts of their production and reception, paying particular attention to developments in audio-visual industries and cultural policy that have taken place since 2000. Through this, the thesis demonstrates that the New Catalan Cinema challenges pre-existing critical conceptualisations of both national and regional film cultures. The main question addressed by the thesis is ‘In what ways has Catalan cinema consolidated a new identity in the 2000s?’. This has involved historical consideration of pre-2000 Catalan film culture. More explicitly, the thesis examines the main institutions that have supported the development of Catalan cinema since 2000, including educational (Universitat Pompeu Fabra, Escola Superior de Cinema i Audiovisuals de Catalunya) audiovisual (MEDIA, Acadèmia del Cinema Català, Barcelona/Catalunya Film Commission), governmental (Departament de Cultura, Institució Català d’Empreses Culturals) and cultural (Institut Ramon Llull). Additionally, it presents case study analyses of documentary, historical drama and horror as important areas within which regional, national and global crossovers and tensions are negotiated. 2 Contents ACKNOWLEDGEMENTS .............................................................................................................................. 5 DECLARATION ............................................................................................................................................... 7 INTRODUCTION ............................................................................................................................................. 8 LITERATURE REVIEW: CATALAN CINEMA AND THE CONCEPT OF NATIONAL CINEMA 17 CATALAN CINEMA ....................................................................................................................................... 18 CATALAN CINEMA, NATIONAL CINEMA ....................................................................................................... 39 RESEARCH QUESTIONS AND METHODOLOGY ............................................................................................... 58 POLICIES AND INSTITUTIONS; CONSTRUCTING THE NEW CATALAN CINEMA ................... 65 POLICIES ....................................................................................................................................................... 68 INSTITUTIONS ............................................................................................................................................... 89 CONCLUSION .............................................................................................................................................. 100 CREATIVE DOCUMENTARY AT THE TURN OF THE MILLENNIUM: THE BEGINNINGS OF NEW CATALAN CINEMA ......................................................................................................................... 103 INTRODUCTION ........................................................................................................................................... 103 BUENAVENTURA DURRUTTI, ANARQUISTA ..................................................................................................... 114 MONES COM LA BECKY ................................................................................................................................ 118 EN CONSTRUCCIÓN ...................................................................................................................................... 123 CONCLUSION .............................................................................................................................................. 133 CREATIVE DOCUMENTARY: TOWARDS A CINEMA BARCELONÍ .............................................. 136 INTRODUCTION ........................................................................................................................................... 136 DE NENS ...................................................................................................................................................... 142 CIUTAT MORTA ............................................................................................................................................ 145 EL TAXISTA FUL ........................................................................................................................................... 156 LA PLAGA .................................................................................................................................................... 160 CONCLUSION; TOWARDS A CINEMA BARCELONÍ ......................................................................................... 165 HISTORICAL DRAMAS AND BIOPICS: CINEMA CATALÀ ............................................................... 167 NATURALISING NATIONAL IDENTITY: BRUC; LA LLEGENDA (DANIEL BENMAYOR 2010) ............................ 172 RECLAIMING HISTORY: EL CORONEL MACIÀ (JOSEP MARIA FORN 2006) AND 13 DIES D’OCTUBRE (CARLOS MARQUES MARCET 2014) .......................................................................................................................... 180 NARRATING RESISTANCE: SALVADOR (PUIG ANTICH) (MANUEL HUERGA 2007) AND FÈNIX 1123 (JOEL JOAN AND SERGI LARA 2012) .............................................................................................................................. 188 COMPLICATING THE CATALAN HISTORICAL NARRATIVE: PA NEGRE (AGUSTÍ VILLARONGA 2010) ........... 199 CONCLUSION .............................................................................................................................................. 204 CULTURAL SPECIFICITY AND GLOBAL APPEAL IN CATALAN HORROR CINEMA ............ 209 SELF-REFLEXIVE AESTHETICS AND METAPHOR IN [·REC] .......................................................................... 217 SPANISH SPECIFICITY IN [·REC]² ................................................................................................................ 226 CATALAN SPECIFICITY IN [·REC]³: GENESIS .............................................................................................. 234 REMOVING CULTURAL SPECIFICITY IN [·REC]4: APOCALYPSE ................................................................... 241 CONCLUSION .............................................................................................................................................. 247 WHAT FACILITATED THE BEGINNING OF THE NEW CATALAN CINEMA, AND HOW HAS IT DEVELOPED SINCE THEN? ......................................................................................................................................................... 250 WHAT ARE THE TEXTUAL AND CONTEXTUAL FEATURES OF THE NEW CATALAN CINEMA? ........................ 254 HOW DOES THE CATALAN LANGUAGE FEATURE IN THE NEW CATALAN CINEMA? ..................................... 257 WHAT ARE THE IMPLICATIONS OF A REVISED UNDERSTANDING OF NEW CATALAN CINEMA FOR A BROADER UNDERSTANDING OF NOTIONS OF FILM CULTURES? .................................................................................... 259 LIST OF REFERENCES ............................................................................................................................. 262 3 4 Acknowledgements I would like to express heartfelt gratitude to my supervisory team, Professor Peter Hutchings and Dr. Jacky Collins. Their constant guidance and encouragement has been instrumental in shaping this research, and I am grateful for all they have taught me. My gratitude also extends
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