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This article focuses on the development of film workshops in Spain. In particular, it examines their importance in Spanish film culture during the last years of Franco’s dictatorship and follows them up until the early years of the democratic regime. Thus, the essay undertakes
three tasks: first, to map out the development of film workshops in Spain during the 1970s, trying to trace their fragmentary and highly-dispersed history; second, to examine the film practices of La Central del Curt and the Cooperativa de Cinema Alternatiu as main examples of these organizations
and, third, to contextualize these proposals in the uneven field of transitional cultural practices, considering them a challenge to theoretical and methodological questions in the study of minor cinemas.
Studies in European Cinema provides an outlet for research into any aspect of European cinema and is unique in its interdisciplinary nature, celebrating the rich and diverse cultural heritage across the continent. The journal is distinctive in bringing together a range of European cinemas in one volume and in its positioning of the discussions within a range of contexts - the cultural, historical, textual, and many others.