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The Cinema of Alex de la Iglesia$
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Peter Buse, Nuria Triana-Toribio, and Andrew Willis

Print publication date: 2007

Print ISBN-13: 9780719071362

Published to Manchester Scholarship Online: July 2012

DOI: 10.7228/manchester/9780719071362.001.0001

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Introduction

Introduction

Chapter:
(p.1) Introduction
Source:
The Cinema of Alex de la Iglesia
Author(s):

Peter Buse

Núria Triana Toribio

Andy Willis

Publisher:
Manchester University Press
DOI:10.7228/manchester/9780719071362.003.0009

Álex de la Iglesia represents a special phenomenon in Spanish cinema. This chapter deals with his life, presenting some significant observations about the development of his career, and, furthermore, throws light on the ambivalent critique of television that runs through much of his cinema. In cinema studies, de la Iglesia is regarded as not an individual who makes films, but a protean set of alliances shaping and reshaping around a fixed core of collaborators. This collaborative core, which formed in Bilbao prior to any cinematic work, is at the heart of all the feature films, as well as assembling in whole or in part for Mama, Detrás del sirimiri, Mirindas asesinas and Marbella antivicio. In this light, the chapter emphasises that de la Iglesia's films cannot be considered as the work of an individual, but that they take on greater significance when patterns of collaboration are considered within them

Keywords:   de la Iglesia, Detrás del Sirimiri, Marbella Antivicio, Almodóvar, Bilbao

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