Sistema Regional de Información
en línea para Revistas Científicas de América Latina,
el Caribe, España y Portugal

In the last few years, along with the standard features in cinemas, a series of screenings that offer unique sessions outside the commercial programme have carved themselves a niche in commercial theatres. These film screenings try to improve and to amplify the spectator experience by placing the emphasis on the community and participative dimensions of cinema-going. Double features and sing-a-longs or quote-a-longs are some of the formulas that some theatres are trying out in order to attract more spectators. This article examines the emergent phenomena of event-led cinema in Spain, and analyzes the double rhetoric with which its promoters are building the potential audience: on the one hand, discourses that refer to a profound discomfort towards online film consumption and towards mass culture. On the other hand, discourses that connect with rather mainstream tastes and that are identified by the commercial films that are part of these events programmes.

For a hundred years, the opera industry has used the attraction that its singers have provoked in film and media to expand the audiences. After the digitization age, the global market for opera retransmissions in theaters has rethought the role of digital media and its star system in the process of attracting new audiences. In this article we analyze what has been the global image of the opera singers offered by the cinema and television during the xx century, to identify the main changes that the opera retransmissions in the theaters have promoted in the operatic system in xxi century. The streaming projections seem to have configured an image of the mainstream singer, more global, human and committed, able to update the social conception of this art.

Review of the book Rethinking The Hollywood Teen Movie. Gender, Genre and Identity, by Frances Smith.

Texto en recuerdo de José Carlos Avellar, fallecido el 18 de marzo de 2016 y miembro del Consejo Editorial de Secuencias desde 1994.

Review of the book A Companion to American Indie Film, by Geoff King (ed.)

Authors Guidelines

Credits and index of the Issue 46 of Secuencias

The history of Iberian Jews has aroused extraordinary interest in the twentieth century. After the Discovery of the last Crypto-Jewish communities in Portugal, considerable attention has been paid to the Converso phenomenon and the Sephardi Diaspora, both in academia and in the public eye. This has resulted in the formation of different stereotypes concerning the «character» of the Iberian Jew or the «singularity» of Jewish history in the peninsula. While historical accuracy is usually not at stake in cinematic representations of events, films are a valuable source for understanding this particular aspect of the collective imaginary. Despite the valuable but outdated essay by Rafael de España (1991), and the scattered references concerning Jewish ethnicity, or the in works on anti-Semitism in Ibero-American cinema, the image of Jews and Judaism in Spanish cinema has not received specific attention. In this paper, I would like to analyse the evolution of some of most prevalent images of the Jewish experience in Spain. I will highlight the fascination of the seventh art for the Inquisition’s history and legends, which represents almost a subgenre of historical films. The cinematic corpus, consisting of forty-six feature films, concerns the presence of Jewish characters in Spanish cinema and covers the period from 1915 to today.