By Antonio Lázaro-Reboll
Spanish Horror Film is the 1st in-depth exploration of the style in Spain from the 'horror increase' of the past due Nineteen Sixties and early Seventies to the latest creation within the present renaissance of Spanish style cinema, via a research of its construction, movement, rules and intake. The exam of this wealthy cinematic culture is firmly situated on the subject of broader ancient and cultural shifts in fresh Spanish background and as a tremendous a part of the eu horror movie culture and the worldwide tradition of psychotronia.
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Extra resources for Spanish Horror Film
Yet Spanish horror film of this period established a dialogue with international horror traditions by engaging economically and generically with other horror commodities in the marketplace and sharing the modes of production and aesthetic attributes typical of exploitation and genre filmmaking. ’ Either way, Spanish horror films displayed thematic, generic and cultural specificities, which offered something different to national and international horror audiences. It is important, therefore, to recognise that Spanish horror films were as much the product of their context of production as the product of international market differentiation.
Although many popular films were not reviewed at national level or were not reviewed at all, added to the fact that some newspaper critics simply reproduced the promotional material included in the pressbooks, a look at this material gives us an idea of how these films were discussed and evaluated by mainstream critics,17 sheds light on the reading protocols and critical tastes of the time,18 and, more generally, places these critical responses in their wider historical and cultural context. These are documents that also, in some instances, describe cinemagoers’ responses to individual films and the genre in general, information which would otherwise only be accessible through ethnographic research that has yet to be undertaken.
As Franco himself acknowledged in the pressbook, the film was conceived as a ‘comic-strip. A silent comic full of monsters’. And full of monsters it is. Besides the eponymous monsters of the title, there is a hoard of female vampires, a werewolf, and the deformed assistant to a scientist, Dr Steward, whose sole obsession is to see the world rid of monsters. Silent it is, too, since dialogues, in actual fact, were minimal – the script reduced merely to a couple of pages. Drácula contra Frankenstein is a strip of classic horror conventions, motifs, images and moments, and the comic idiom and the classic monster-movie imagery are captured in Jano’s designs for the promotional material (see Figure 5).