223
Views
0
CrossRef citations to date
0
Altmetric
Articles

The limits of low-cost cinema in Spain: an analysis of the #Littlesecretfilm movement

ORCID Icon &
Pages 36-49 | Received 11 Mar 2018, Accepted 01 Aug 2019, Published online: 12 Aug 2019

References

  • Allbritton, D. 2014. “Prime Risks: The Politics of Pain and Suffering in Spanish Crisis Cinema.” Journal of Spanish Cultural Studies 15(1–2): 101–115. doi: 10.1080/14636204.2014.931663.
  • Altabás Fernández, C. 2014. “Autofinanciación y crowdfunding: Nuevas vías de producción, distribución y exhibición del cine español independiente tras la crisis financiera española.” Historia y Comunicación Social 19(Esp):387–399.
  • Arnau Roselló, R. 2016. “Independent Cooperatives between Film Exhibition and Cultural Management: Citizen Cinema at the Industry’s Periphery.” OBETS. Revista de Ciencias Sociales 11(2): 419–439. doi: 10.14198/OBETS2016.11.2.02.
  • Artero, J. P., and A. Sánchez-Tabernero. 2015. “Media and Telecommunications Concentration in Spain (1984–2012).” European Journal of Communication 30(3): 319–336. doi: 10.1177/0267323115577307.
  • Beck, J., and V. Rodríguez Ortega. 2008. “Introduction.” In Contemporary Spanish Cinema and Genre edited by J. Beck and V. Rodríguez Ortega, 1–23. Manchester: Manchester University Press.
  • Binimelis, M., J. Cerdán, and M. Fernández Labayen. 2015. “In and Out: The Transnational Circulation of Spanish Cinema in Digital Times.” Journal of Spanish Cultural Studies 16(1): 1–8. doi: 10.1080/14636204.2015.1042324.
  • Buse, P., and N. Triana Toribio. 2015. “Ocho apellidos vascos and the Comedy of Minor Differences.” Romance Quarterly 62(4): 229–241. doi: 10.1080/08831157.2015.1068637.
  • Camino, M. M. 2005. “‘Madrid me mata’: Killing the Husband in Alex de la Iglesia’s La comunidad (2000) and Pedro Almodóvar’s ¿Qué he hecho yo para merecer esto!! (1984).” Forum for Modern Language Studies 41(3): 332–341. doi: 10.1093/fmls/cqi022.
  • Cea Navas, A. I. 2015. “Social Representation in Spanish Shorts Fiction.” Opción 31(Especial 4): 279–300.
  • Costa, J. 2013. “Los conjurados.” eldiario.es. Accessed in February 2018. http://www.eldiario.es/Kafka/conjurados_0_98340253.html.
  • Davies, A. 2005. “Can the Contemporary Crime Thriller Be Spanish?” Studies in European Cinema 2(3): 173–183. doi: 10.1386/seci.2.3.173/1.
  • Donoghue, C. B. 2014. “Death of the DVD Market and the Rise of Digital Piracy: Industrial Shifts in the Spanish Film Market since the 2000s.” Quarterly Review of Film and Video 31(4): 350–363. doi: 10.1080/10509208.2012.660443.
  • Foord, J. 2009. “Strategies for Creative Industries: An International Review.” Creative Industries Journal 1(2): 91–113. doi: 10.1386/cij.1.2.91_1.
  • García-Mainar, L. M. 2016. “Crematorio or a Local Case of a Global Crime Film/Television.” Hispanic Research Journal 17(1): 49–61. doi: 10.1080/14682737.2015.1125104.
  • Gómez Tarín, F. J., and A. Rubio Alcover. 2015. “Entre el ocio y el negocio.” adComunica. Revista Científica de Estrategias, Tendencias e Innovación en Comunicación 10: 17–19. doi: 10.6035/2174-0992.2015.10.2.
  • Goss, B. M. 2017. “The Pain in Spain: An Analysis of Horror Auteur Jaume Balagueró’s Films.” Studies in European Cinema 14(1): 66–81. doi: 10.1080/17411548.2016.1246307.
  • Herrero, C. 2014. “Hybrid Models: Auteurism and Genre in Contemporary Spanish Crime Thrillers.” In (Re)Viewing Creative, Critical and Commercial Practices in Contemporary Spanish Cinema, edited by D. Wheeler and F. Canet, 352–364. Bristol: Intellect.
  • Huang, D., D. G. Markovitch, and A. Strijnev. 2015. “Exploring the Small Movie Profitability Puzzle.” Marketing Letters 26(1): 43–55. doi: 10.1007/s11002-013-9266-x.
  • Izquierdo Castillo, J. 2012. “El fomento del cine europeo y su comercialización. Estudio comparado de los cines español y francés.” ICONO14 10(1): 79–93. doi: 10.7195/ri14.v10i1.141.
  • Izquierdo-Castillo, J. 2015. “The New Media Business Concept Led by Netflix: A Study of the Model and Its Projection into the Spanish Market.” El Profesional de la Información 24(6): 819–826.
  • King, G., C. Molloy, and Y. Tzioumakis. 2013. “Introduction.” In American Independent Cinema: Indie, Indiewood and Beyond, edited by G. King, C. Molloy, and Y. Tzioumakis, 1–8. London: Routledge.
  • Lobato, R. 2012. Shadow Economies of Cinema: Mapping Informal Film Distribution. Basingstoke: British Film Institute.
  • Maqueda, P., and H. G. Viana. 2013. “#Littlesecretfilm Manifesto.” Accessed in February 2018. http://littlesecretfilm.com/LittlesecretfilmManifestoEnglish.pdf.
  • Martínez Gallardo, F. D., and J. Alberich Pascual. 2013. “Plataformas y proyectos de crowdsourcing y crowdfunding cinematográfico en España (2007–2011).” Historia y Comunicación Social 18(Esp): 85–95. doi: 10.5209/rev_HICS.2013.v18.43950.
  • Marzal-Felici, J., and M. Soler-Campillo. 2014. “Contemporary Spanish Animated Films: Between the Temptation of the Mainstream and the Consolidation of a National Cinema.” Hispanic Research Journal 15(1): 88–99. doi: 10.1179/1468273713Z.00000000076.
  • McKenzie, J. 2012. “The Economics of Movies: A Literature Survey.” Journal of Economic Surveys 26(1): 42–70. doi: 10.1111/j.1467-6419.2010.00626.x.
  • Mercier, O. R. 2014. “Film Sport: Constraint and Unrestraint in the 48-Hour Film Competition.” New Cinemas: Journal of Contemporary Film 12(3): 191–204. doi: 10.1386/ncin.12.3.191_1.
  • Ministerio de Educación, Cultura y Deporte. 2014. Boletín informativo 2014. Madrid: Gobierno de España.
  • Murphy, J. J. 2017. “Looking through a Rearview Mirror: Mumblecore as Past Tense.” In A Companion to American Indie Film, edited by G. King, 279–299. Hoboken: Wiley Blackwell.
  • Ostrowska, D. 2005. “Zentropa and Von Trier: A Marriage Made in Heaven.” Studies in European Cinema 2(3): 185–198. doi: 10.1386/seci.2.3.185/1.
  • Pardo, A., and C. Etayo. 2014. “Movies and Screens: The Spanish Audience’s Choice.” Communication & Society 27(4): 131–145. doi: 10.15581/003.27.4.131-145.
  • Palacio, M., J. C. Ibañez, and L. Bret. 2015. “A New Model for Spanish Cinema. Authorship and Globalization: The Films of Javier Rebollo.” Journal of Spanish Cultural Studies 16(1): 29–43. doi: 10.1080/14636204.2015.1042323.
  • Papadimitriou, L. 2017. “Transitions in the Periphery: Funding Film Production in Greece since the Financial Crisis.” International Journal on Media Management 19(2): 164–181. doi: 10.1080/14241277.2017.1298111.
  • Percival, N., and D. Hesmondhalgh. 2014. “Unpaid Work in the UK Television and Film Industries: Resistance and Changing Attitudes.” European Journal of Communication 29(2): 188–203. doi: 10.1177/0267323113516726.
  • Poveda Criado, M. A. 2015. “Sources of Funding of Spanish Audiovisual.” Opción 31(Special Issue 2): 877–886.
  • Ribera, J., and S. Sieber. 2009. “How Uncertainty and Risk Management Impacts the Success of Spanish Film Projects.” Journal of Media Business Studies 6(4): 49–74. doi: 10.1080/16522354.2009.11073495.
  • Romaguera i Ramió, J., and H. Alsina Thevenet. 1998. Textos y manifiestos del cine. Madrid: Cátedra.
  • Rubio Alcover, A. 2006. “La postproducción cinematográfica en la era digital: Efectos expresivos y narrativos.” PhD diss., Universitat Jaume I, Castellón de la Plana.
  • Rubio Alcover, A. 2010. “El Dogma danés.” http://www.bocc.ubi.pt/pag/alcover-rubio-el-dogma-danes.pdf.
  • Rubio Alcover, A. 2014. “Explorers of Chaos, Strategists of the Abyss: Cartography of the Far Side of Contemporary Spanish Cinema.” Fonseca, Journal of Communication 9: 11–27.
  • Sanson, K. 2014. “Location and Labor: Critical Crossroads in Global Film and Television.” Creative Industries Journal 7(1): 54–58. doi: 10.1080/17510694.2014.892284.
  • Shaviro, S. 2010. Post-Cinematic Affect. Winchester: O-Books. doi: 10.3366/film.2010.0001.
  • Smith, P. J. 2009. “Film Culture in Madrid.” Film Quarterly 62(4): 63–68. doi: 10.1525/fq.2009.62.4.63.
  • Spain Film Commission. 2017. Film Industry Facts. Madrid: The Spain Film Commission Network.
  • Thanouli, E. 2009. Post-Classical Cinema: An International Poetics of Film Narration. London: Wallflower Press.
  • Triana-Toribio, N. 2008. “Auterism and Commerce in Contemporary Spanish Cinema: Directores Mediáticos.” Screen 49(3): 259–276. doi: 10.1093/screen/hjn051.
  • van Liew, M. 2010. “New Modernity, Transnational Women, and Spanish Cinema.” Comparative Literature and Culture 12(2): 1–10.
  • Wheeler, D. 2014. “Two Decades of Cinematic Production and Critical Discourse.” In (Re)Viewing Creative, Critical and Commercial Practices in Contemporary Spanish Cinema, edited by D. Wheeler and F. Canet, 7–34. Bristol: Intellect.
  • Wirtz, B. W., M. Mermann, and P. Daiser. 2016. “Success Factors of Motion Picture Actors – An Empirical Analysis.” Creative Industries Journal 9(2): 162–180. doi: 10.1080/17510694.2016.1206359.

Reprints and Corporate Permissions

Please note: Selecting permissions does not provide access to the full text of the article, please see our help page How do I view content?

To request a reprint or corporate permissions for this article, please click on the relevant link below:

Academic Permissions

Please note: Selecting permissions does not provide access to the full text of the article, please see our help page How do I view content?

Obtain permissions instantly via Rightslink by clicking on the button below:

If you are unable to obtain permissions via Rightslink, please complete and submit this Permissions form. For more information, please visit our Permissions help page.