The key difference between the Viejo Cine Español and the Nuevo Cine Español (NCE) highlighted in this book is that of single and plural authorship. In popular cinema, the voices of producers, directors, actors, scriptwriters, cinematographers, editors, composers and costume designers may clash in creative cacophony, and these clashes sometimes prove propitious in exposing the very ideological contradictions that the conservative contents of the films intended to conceal. In the NCE, there are both intended and unintended outcomes. On the one hand, these singly authored films successfully condemn the contradictions of aperturista Spain, as was the intention of their auteurist directors. In the book's examples, directors focus in particular on disparities of wealth (Los farsantes), excessive sexual behaviour as a consequence of repression (La tía Tula), the attraction and repulsion of national identity (Nueve cartas a Berta), and the ineffectuality of both the old and young (La caza). But on the other hand, the NCE itself laboured under contradictions, and the films are shot through with the tensions of this ironic situation.
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