(Re)viewing Creative, Critical and Commercial Practices in Contemporary Spanish Cinema
- Submitting institution
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The University of Leeds
- Unit of assessment
- 26 - Modern Languages and Linguistics
- Output identifier
- UOA26-2352
- Type
- B - Edited book
- DOI
-
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- Publisher
- Intellect Books
- ISBN
- 9781783204069
- Open access status
- Out of scope for open access requirements
- Month of publication
- -
- Year of publication
- 2014
- URL
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- Supplementary information
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- Request cross-referral to
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- Output has been delayed by COVID-19
- No
- COVID-19 affected output statement
- -
- Forensic science
- No
- Criminology
- No
- Interdisciplinary
- No
- Number of additional authors
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1
- Research group(s)
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- Proposed double-weighted
- No
- Reserve for an output with double weighting
- No
- Additional information
- This output is a co-edited English-language volume, comprising thirty chapters. Wheeler is primary editor (with responsibility for structuring the volume, organising peer review and preparing final copy), and sole author of four section introductions and four chapters as well as co-author of three additional chapters. The publication has its origins in a December 2011 New York conference on contemporary Spanish cinema, financed by the Valencian Polytechnic University. Wheeler was invited by conference organiser Fernando Canet’s to co-edit a book using the New York event as a springboard to deliver the most comprehensive publication to date about Spanish cinema of the last two decades. The volume capitalises on one of the conference’s unique strengths: fostering dialogue between Spanish and Anglo-American scholars (who have traditionally published in different outlets) as well as academics and practitioners. Wheeler proposed splitting the book into four thematic sections: 1) New Forms of Being and Seeing in Recent Spanish Cinema; 2) Revisiting the Past: The Politics of Memory and the Transition’s Cinematic Legacy; 3) Redefining Auteurship, Genre and Stardom in a Transnational Age; 4) Engaging with Practitioners and Cinematic Institutions. All conference participants were invited to submit revised papers according to the aforementioned scheme. Submissions were sent to external peer-review, and just under 50% were accepted. Gaps in coverage were then filled by Wheeler’s supplementary chapters and the commissioning of individual pieces (e.g. Wright’s chapter on screen children), and the inclusion of more practitioners (e.g. a text by Luis Miñaro, a Cannes winning producer, was complemented by an interview with Mercedes Gamero, the most commercially successful Spanish producer of recent years).
- Author contribution statement
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- Non-English
- No
- English abstract
- -