New Spanish Cinema in the 1960s: Interviews with Antxn Eceiza and Julio Diamante
Long regarded as central to the development of art cinema in Spain, the Nuevo Cine Espaol/New Spanish Cinema movement of the 1960s is currently being reconsidered in the light of recent scholarship. These interviews contribute to this reassessment by bringing to our attention the experiences of two directors who were peripheral to the movement as a whole. Antxn Eceiza, author of the Neorealist El prximo otoo/Next Autumn (1963) and formally eclectic De cuerpo presente/Present in Body (1965), reveals these anti-Francoist directors' contradictory experiences of accepting subsidies from the state and representing Spain at foreign film festivals. Julio Diamante, whose Los que no fuimos a la guerra/Those of Us Who Didn't Go to War (1962) is a comic allegory of the Spanish Civil War, explains why he rejected comedy in favour of Neorealism and offers his view of student radicalism in 1950s Madrid, and the production contexts of his 1960s work.
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Document Type: Research Article
Affiliations: University of Exeter.
Publication date: 2006-07-01
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- In 2013, Studies in Hispanic Cinemas, is changing its name to Studies in Spanish & Latin American Cinemas to reflect more accurately its content, which is dedicated to the study of Spanish-speaking and Latin American cinemas, including the cinemas of Spain and Spanish-speaking South, Central and North America including the Caribbean, as well as Brazil.
Our target readership includes students, teachers and scholars. The journal is written in English to maximize the opportunities for contact between academic disciplines such as Media, Film Studies, Latin American and Post-colonial Studies, as well as Hispanic Studies, thereby encouraging an inter- cultural and inter- disciplinary focus.
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