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The author affirms that representative figures in Spanish film are a symptom of the global crisis of the real that is affecting the world, dominated by a loss of faith in the media and the creation of new spatial and temporal dimensions in a virtual sphere.

[from the official abstract] Towards the close of the 1990s, a time in which post-modern cinema regarded reality as suspect, a certain tendency towards realism arose in Spanish cinema.

But I think that the crowning glory is the 94-page bibliography; it is the most extensive and exhaustive bibliography on Spanish cinema that I've ever come across.Considers ‘Otherness’ and issues of ethnicity and race in relation to contemporary Spanish films (including Alma gitana (Chus Gutiérrez, 1995), Bwana (Imanol Uribe, 1996), Flores del otro mundo (Icíar Bollaín, 1999), En la puta calle (Enrique Gabriel, 1996), El espinazo del diablo (Guillermo del Toro, 2001), and Lejos de África (Cecilia Bartolomé, 1996)).The film section of the book looks at Catalan independent cinema (specifically the work of Ventura Pons) and how Pedro Almodóvar resurrected the art film (focusing on La flor de mi secreto (1995), Carne trémula (1997), and Todo sobre mi madre (1999)).To what degree does Spanish cinema participate in this path towards politics?This article aims to answer that question through an analysis of a number of examples of recent fictional cinema such as León de Aranoa’s Los lunes al sol and Alejandro Amenábar’s Mar adentro, along with some examples of documentary cinema.