Cinema of Spain

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The main purpose of this paper is to examine the history of Spain in terms of politics based on El Lobo. The methods used to classify the film, El Lobo, are the methods used to display the film to extract important information that aid in the study. This paper reveals that the film is based on real events in Spanish history and therefore classifies the movie as Docudrama. The social problems raised in the film are terrorism, dictatorship, crime, the pursuit of democracy and conflicts of interest. The paper identifies the A. Spanish film industry as having done well in the 20th century. The conclusion is that a major weakness of the film is the neglect of the economic side of things and the strength is on the writer’s creativity that gives us a sense of reality in films that document historical events in Spain.
List of Films
El Lobo
Credits: Antonio Onetti (Writing Credits)
Director: Miguel Courtois
Producer: Julio Fernandez, Melchor Miralles (Executive Producers) and Miguel Torrente (Line Producer)
Studio: Orebro
Year: 2004
Photographer: Nester Calvo
Music: Francesc Gener
Cast: Edwardo Noriega, Jose Coronado, Melanie Doutie and Silvia Abascal (most representatives)

Operacion Ogro
Credits: Randall Wallace (Writing Credits)
Director: Gillo Pontecorvo
Producer: España-Italia-Francia
Studio: Paramount Pictures and 20th Century Fox
Year: 1979
Photographer: Marcello Gatti
Music: Ennio Morricone
Cast: Gian Maria Volonté, José Sacristán, Ángela Molina, Eusebio Poncela, Féodor Atkine, Fernando Chinarro, Nicole Garcia, Saverio Marconi, Georges Staquet, Ana Torrent

II. Introduction
A. The ETA Group
The paper goes into great detail to describe the historical perspective of the ETA group. This paper also discusses the current situation under this heading. This sets the stage for the reader to understand the subsequent sections.
B. The Second Section
1. Analysis Section
The paper prepares the reader on what to expect under the analysis section of the paper. The analysis section is divided into The Spanish History, Social Issues, Movie Genre and lastly, The Spanish Film Industry.
C. Paper Organization
This section gives a general overview of the paper in terms of how systematic information is presented.
III. Film Summary
A. Background Information
This section gives the background information to the film such as the meaning of the name and its interpretation and correlation to the film. In addition, it reminds the reader of some of the cast and the Basque environment in which the film is set (Jordan and Morgan-Tamosunas, 2000).
B. Film Summary
The actual film summary is presented in this subsection. Several characters are brought into play here. The background information about ETA at the beginning of the introduction is crucial in understanding the film.
IV. Analysis
A. Spanish History
This section primarily relates the film to the history of Spain giving example to support the facts presented as well as to aid the reader understand better. In addition, this subsection relates this film to other films that have a somewhat similar setting in terms of historical significance (Lazzeretti, Boix and Capone, 2008).
B. Social Issues
Under this section, the paper identifies key social issues depicted in the film and gives a few illustrations to support the facts suggested. The film discusses the role of conflict of interest, the impact of violence means of achieving autonomy, the impact of leadership from both the historical and the psychosocial perspective and lastly, the correlation of the film to terrorism in contemporary world.
C. Movie Genre
This section identifies the genre of the movie to be a documentary drama and proceeds to illustrate why it is so (Delmestri, Montanari and Usai, 2005). Furthermore, it identifies and illustrates literary themes such as terrorism, competition of power, conflict of interest and impatience in addition to the mood of the film which is identified as tense to restless.

D. The Spanish Film Industry
This section recounts the history of the Spanish film industry paying attention to major occurrences that either impacted on it negatively or positively. For instance, the paper discusses the implication of the silent cinema era, the introduction of the audio-phonic film and the consequential setting up of the CIFESA Company to address some of the challenges (Cooke and Lazzeretti, 2008). Additionally, the paper talks of the measures the government put in place to revive the Spanish film industry from the major historical blows that it received and finally, proceeds to explain the correlation of these to the film in brief. This section particularly examines the changes that have occurred in the Spain film industry and which have had am impact on the movie under consideration.
V. Conclusion
This section summarizes and gives the implication of the ideas presented to the modern world. It examines the trends in the film industry and compares the industry at the time the film under discussion was made and the modern films.

References

Cooke, P. N., & Lazzeretti, L. (Eds.). (2008). Creative cities, cultural clusters and local economic development. Edward Elgar Publishing.
Delmestri, G., Montanari, F., & Usai, A. (2005). Reputation and strength of ties in predicting commercial success and artistic merit of independents in the Italian feature film industry. Journal of Management Studies, 42(5), 975-1002.
Jordan, B., & Morgan-Tamosunas, R. (2000). Contemporary Spanish cultural studies. Routledge.
Lazzeretti, L., Boix, R., & Capone, F. (2008). Do creative industries cluster? Mapping creative local production systems in Italy and Spain. Industry and innovation, 15(5), 549-567.

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