By Chris Perriam

Because the Catalan executive handed the 1st of Spain's nearby governmental legislation on same-sex partnership in 1998, lesbian, homosexual, bisexual, transsexual and queer tradition in Spain has thrived. Spanish Queer Cinema assesses the influence of this crucial cultural expression on Spanish Cinema and evaluates the function LGBTQ movie has had in growing and shaping identification and experience.
Focusing on movies from 1998 to the current day, Chris Perriam skilfully analyses the advance of LGBTQ filmmaking and filmwatching in Spain and locations this in the wider cultural context. masking lesbian cinema, homosexual and queer documentaries and brief motion pictures, in addition to mainstream gains, the ebook investigates how LGBTQ movies are allotted and the way audiences react to them. It contains discussions of movie gala's, cultural centres and social networking websites and it areas the filmwatching event in the context of alternative cultural actions equivalent to tv viewing, analyzing, browsing, downloading and festival-going. It assesses the significance and influence of Spanish queer cinema at the building of LGBTQ identities and experiences.
An informative and thought-provoking publication, Spanish Queer Cinema is a vital learn for college kids and students operating within the fields of movie reports, Spanish reviews and Cultural reports.

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Indd 33 29/11/2012 14:42 SPANISH QUEER CINEMA self-knowledge and non-sexual commitment to others. However, some of the goodness of Spinnin’ is based on far from complex or philosophical apprehensions such as are encapsulated in the (sincere enough) motif ‘El amor tiene aristas, las heridas te mantienen vivo . ’ (‘Love has sharp edges, its wounds keep you feeling alive’), frequently repeated verbatim, in the mouths of different characters. Similarly, a long soliloquy on grief and pain, spoken by two separate characters, threatens to tip tragedy into portentousness, but the rhetoric overwhelms the sentiment on any conventional reading and viewing of the scenes.

While lack of access to marriage is a powerful sign of discrimination (273), it is, as ‘a public institution’ formed out of political choices over a long period, ‘also a fundamentally conservative institution [which] posits a specific desirable form for intimacy and family life . . and reinforces that form through legal, economic, political, and social privileges’ (271). Thus, in the USA, ‘many of the most prominent advocates of same-sex marriage are conservative gay men’ (although ‘some lesbian feminists also argue that same-sex marriage is necessary to assure full citizenship’) (272).

There are some similarities to Spanish productions. Beautiful Thing’s mélange of conventional coming-out tale framed by television-drama-style social realism with overt self-reflexivity with regard to genre (186) and its productively contradictory representations of secondary characters (189) matches up with a queer tendency in Spanish films to mismatch the highly conventional – in one or other formal category or in look – and the unexpected (and sometimes unintended) effect, outcome or emotion.

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Spanish Queer Cinema by Chris Perriam
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