Abstract
This essay explores a new model of Spanish cinema established by a group of filmmakers who have entered the field in the last decade. These new film practices are related to changes in technological, cultural and social processes in a transnational context and to how some film critics understand film aesthetics. To illustrate these issues, we will examine the case of Javier Rebollo, a filmmaker and producer of three feature films, the coproductions Lo que sé de Lola/Ce que je sais de Lola (2006), La mujer del piano (2010) and El muerto y ser feliz (2012). The essay will engage with questions of reception and auteurism and with the construction of the cinematic canon in Spain.
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