Shelagh Rowan-Legg | Independent Researcher (original) (raw)
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Papers by Shelagh Rowan-Legg
Intellect Books, Dec 1, 2014
Intellect Books, Dec 1, 2014
(Re)viewing creative, critical and commercial practices in contemporary Spanish Cinema, 2014, ISBN 978-1-78320-406-9, págs. 311-322, 2014
Alphaville: Journal of Film and Screen Media
Science Fiction Film and Television, 2015
Studies in Spanish & Latin American Cinemas, 2013
La Furia Umana, 2018
At first glance, the Monogram Pictures’ 1944 release When Strangers Marry (originally titled Betr... more At first glance, the Monogram Pictures’ 1944 release When Strangers Marry (originally titled Betrayed) seems a film typical of the later WWII era: low-budget, brief, incorporating film noir codes, a cast of mainly unknown or formerly supporting actors, and a crime thriller plot involving a naïve woman and a mysterious man. However, in retrospect, it is distinguished by two things: its director, William Castle, who would go on to become a famous producer/director of B-movie horror classics such as ‘House on Haunted Hill’; and it featured the first lead role for Robert Mitchum, who would go on to become one of Hollywood’s biggest stars.
Science Fiction Film & Television, 2015
Philament, Nov 2012
When Gilles Deleuze proposed a theory of second cinema, a cinema in which time is the dominant mo... more When Gilles Deleuze proposed a theory of second cinema, a cinema in which time is the dominant mode of audiovisual communication, he used modern films as examples to prove his theories. And yet, what he describes a cinema where virtual and actual, real and imaginary, subjective and objective are indistinguishable is a postmodern cinema, one that translates the images of the human mind into a pure cinema, and creates a simulacra based on a variety of time---image into a cinema of the 21 st century 1 . This third cinema is a virtual reality, ---image theory to create a cinema of the mind, directly ---or I would argue, postmodern cinema ---of the 2 the time--using as examples two postmodern films: Abre los ojos (Alejandro Amenábar 1997)
Talks by Shelagh Rowan-Legg
Intellect Books, Dec 1, 2014
Intellect Books, Dec 1, 2014
(Re)viewing creative, critical and commercial practices in contemporary Spanish Cinema, 2014, ISBN 978-1-78320-406-9, págs. 311-322, 2014
Alphaville: Journal of Film and Screen Media
Science Fiction Film and Television, 2015
Studies in Spanish & Latin American Cinemas, 2013
La Furia Umana, 2018
At first glance, the Monogram Pictures’ 1944 release When Strangers Marry (originally titled Betr... more At first glance, the Monogram Pictures’ 1944 release When Strangers Marry (originally titled Betrayed) seems a film typical of the later WWII era: low-budget, brief, incorporating film noir codes, a cast of mainly unknown or formerly supporting actors, and a crime thriller plot involving a naïve woman and a mysterious man. However, in retrospect, it is distinguished by two things: its director, William Castle, who would go on to become a famous producer/director of B-movie horror classics such as ‘House on Haunted Hill’; and it featured the first lead role for Robert Mitchum, who would go on to become one of Hollywood’s biggest stars.
Science Fiction Film & Television, 2015
Philament, Nov 2012
When Gilles Deleuze proposed a theory of second cinema, a cinema in which time is the dominant mo... more When Gilles Deleuze proposed a theory of second cinema, a cinema in which time is the dominant mode of audiovisual communication, he used modern films as examples to prove his theories. And yet, what he describes a cinema where virtual and actual, real and imaginary, subjective and objective are indistinguishable is a postmodern cinema, one that translates the images of the human mind into a pure cinema, and creates a simulacra based on a variety of time---image into a cinema of the 21 st century 1 . This third cinema is a virtual reality, ---image theory to create a cinema of the mind, directly ---or I would argue, postmodern cinema ---of the 2 the time--using as examples two postmodern films: Abre los ojos (Alejandro Amenábar 1997)
Over the past two decades, an increasing number of Spanish filmmakers have embraced the fantastic... more Over the past two decades, an increasing number of Spanish filmmakers have embraced the fantastic as a mode of expression. However, these films are frequently ignored in discourses on national cinema that mode's inferred designation as "popular" cinema, which is seen as opposed to a national canon. Andrew Higson notes that there is no universally accepted concept of a national cinema, and Barry Jordan writes that globally available cultural styles are subject to local inflection and re-signification. The new generation of filmmakers is creating a distinctively Spanish form of the fantastic, making the films both local and universal, by reshaping its nonculturally-specific semantics with a culturally specific syntax. Using examples of films by Jaume Balagueró, Paco Plaza and Nacho Vigalondo, the paper will investigate the new fantastic film as part of a growing trend of post-national cinema that is redefining traditional conceptions of national Spanish cinema.
