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European Cinemas in the Television Age$
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Dorota Ostrowska and Graham Roberts

Print publication date: 2007

Print ISBN-13: 9780748623082

Published to Edinburgh Scholarship Online: March 2012

DOI: 10.3366/edinburgh/9780748623082.001.0001

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PRINTED FROM EDINBURGH SCHOLARSHIP ONLINE (www.edinburgh.universitypressscholarship.com). (c) Copyright Edinburgh University Press, 2021. All Rights Reserved. An individual user may print out a PDF of a single chapter of a monograph in ESO for personal use.date: 25 July 2021

Spain: Bipolar Visions, Unified Realities: a General Overview

Spain: Bipolar Visions, Unified Realities: a General Overview

Chapter:
(p.55) 5. Spain: Bipolar Visions, Unified Realities: a General Overview
Source:
European Cinemas in the Television Age
Author(s):

Valeria Comporesi

Publisher:
Edinburgh University Press
DOI:10.3366/edinburgh/9780748623082.003.0005

This chapter focuses on the television–cinema relationship in Spain. After a brief reconstruction of the industrial relationships which have drastically influenced the history of Spanish cinema at least since the late 1960s, attention is drawn to some major cases that illustrate the extent to which the existing interchanges between the two media did work as a creative driving force. At the very heart of this intersection, one finds the film-makers, who would come back and forth from television to cinema, and vice versa, asserting themselves as good professionals in the two media, and their programmes and films. To what extent it is possible to devise some kind of contamination between low-high (art and cinema) and low-low (television and, when times are ripe, videogames) culture at both levels is the central issue to be addressed, along with questions regarding the representation of television along the way.

Keywords:   Spanish television, Spanish cinema, filmmakers, art, culture

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