A work of death: martyrdom, myth and dead women in contemporary Spanish film

2021 ◽  
Vol 22 (1) ◽  
pp. 77-93
Author(s):  
Mary Farrelly
Keyword(s):  
Spanish Film

scholarly journals Directive Speech Acts in English and Spanish Filmspeak

2020 ◽  
Vol 8 (1) ◽  
pp. 105-125
Author(s):  
Carlos de Pablos-Ortega
Keyword(s):  
Speech Acts ◽  
Native Speakers ◽  
Valuable Contribution ◽  
Spanish Film ◽  
Linguistic Patterns ◽  
Different Types ◽  
Directive Speech Acts ◽  
Film Scripts ◽  
Directive Speech ◽  
Local Grammar

AbstractThe main aim of the study is to ascertain contrastively, in English and Spanish, how directive speech acts are represented in film discourse. For the purpose of the investigation, the directive speech acts of 24 films, 12 in English and 12 in Spanish, were extracted and analysed. A classification taxonomy, inspired by previous research, was created in order to categorize the different types of directive speech acts and determine their level of (in)directness. The results show that indirectness is more widely represented in the English than in the Spanish film scripts, thus confirming the assertion that being indirect is a distinctive feature of English native speakers (Grundy, 2008). This research makes a valuable contribution to the exploration of speech acts in filmspeak and informs the existing local grammar descriptions of the linguistic patterns of directive speech acts.

Evaluation as a pragmatic act in Spanish film narratives

2010 ◽  
Vol 42 (11) ◽  
pp. 2945-2963 ◽  
Author(s):  
Sarah E. Blackwell
Keyword(s):  
Spanish Film

Introduction: approaching performance in Spanish film

2016 ◽  
Author(s):  
Dean Allbritton ◽  
Alejandro Melero ◽  
Tom Whittaker
Keyword(s):  
Film Analysis ◽  
Spanish Cinema ◽  
Spanish Film ◽  
Critical Scholarship

The importance of screen acting has often been overlooked in studies on Spanish film. While several critical works on Spanish cinema have centred on the cultural, social and industrial significance of stars, there has been relatively little critical scholarship on what stars are paid to do: act. This is perhaps surprising, given the central role that acting occupies within a film. In his essay ‘Why Study Film Acting?’, Paul McDonald argues that acting is not only crucial to understanding the affective charge of movies, but integral to the study of film as a whole (2004: 40). Yet, despite its significance, performance remains one of the most elusive and difficult aspects of film analysis. One of the reasons for this, according to Pamela Robertson Wojcik, is its apparent transparency (2004: 1). A ‘good’ actor supposedly renders their performance ‘invisible’, thereby concealing the process of acting from the audience, and engaging us within the emotional universe of the character. To this effect, discussion on acting is all too frequently evaluative: we think in terms of how convincing or naturalistic a given performance is, or are invited to appreciate the actorly skills and techniques that are brought to bear on the film....

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