Invisible, unnoticeable, not exported, not promoted? Spanish cinema as transnational cinemaTraditionally, the term „national cinema” referred to films produced within the boundaries of one par­ticular country, and it ignored the complexity of the movie as a social and cultural practice. However, changes in film production in past decades have made it exceptionally difficult to delimit the national borders of particular cinematographies: the development of systems of co-productions, international film crews, and movements across borders of filmic styles and genres make it possible to conceive Spanish cinema in terms of transnationality. The aim of this article is to discuss the most important factors that shape Spanish contemporary cinematography, as well as to suggest the possible means of analysing and describing it within the concepts of “national” and “transnational” cinema.

This funny everyday life: Conventions and sources of humour in contemporary Spanish film comediesIn the article, the author aims to organize and describe the most popular conventions of Spanish film comedy, as well as describe the sources of humor in these movies. Starting with the begin­nings of contemporary post-Franco Spanish cinema, several important changes and developments are described. An economic and legal perspective provides background and a justification for the presented conventions. Additionally, several case-studies are analyzed, most importantly, films by Santiago Segura the series of Torrente and Emilio Martínez Lázaro El otro lado de la cama, Los 2 lados de la cama, Ocho apellidos vascos and Ocho apellidos catalanes.