Abstract
ABSTRACT This article takes the Miró Law as a case study in order to analyse what type of cinema was regarded suitable to depict the values of the new Spain at the end of the Transition period (1975–1982) and the consolidation of the democracy in Spain when the Socialist Party won the general elections in 1982. The Miró Law has been one of the most discussed pieces of legislation by scholars in the field. Drawing on Pierre Bourdieu’s theory of cultural production, this article revises the notion of ‘quality cinema’ fostered by the Miró Law to propose a different reading of the film policies carried out by the Socialist Party to foster a cinema that could embody the values of the new democratic Spain.
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