Portrait of Professor Núria Triana Toribio

Professor Núria Triana Toribio

School Director of Research
Professor of Hispanic Studies

About

Professor Núria Triana Toribio is an established scholar on the areas of national cinema and popular culture in Spain. Her main research is in the fields of popular culture and subculture (Spanish Punk) and film cultures. 

These two interests are linked by her longstanding interest in inclusions and exclusions in histories of cinema and popular culture more broadly. This has taken her to areas such as national cinemas, popular genres and auteurism; the study of film festivals; contemporary Hispanic film cultures; film criticism and popular music. 

Her latest monograph is Spanish Film Cultures (2016, bfi/Palgrave). She is the author of Spanish National Cinema (Routledge, 2003) and co-author of The Cinema of Álex de la Iglesia (Manchester University Press, 2007). She is also co-editor of the series ‘Spanish and Latin American Filmmakers’ for Manchester University Press. 

Her most recent work has appeared in the Journal of Spanish Cultural Studies, Lectora, and Hispanic Research Journal. Her current project is a co-edited book of interviews with Spanish, Portuguese and Chicana Punk women. 

Teaching

Núria teaches modules on Spanish history, language, popular culture and cinema.

Publications

Article

  • Triana Toribio, N. (2017). Memorias selectivas: Two Films by Spanish Punk Women. Lectora [Online]:35-50. Available at: http://revistes.ub.edu/index.php/lectora/article/view/Lectora2017.23.3.
    The role of women in Punk has been dominated by a particular doxa and by repeated acts of omission and misrepresentation. This has certainly been the case in much of the historiography and journalism about Spanish Punk/ la Movida, where a more nuanced and rigorous narrative about Punk/la Movida and its women still needs to be created. This article addresses some discourses that dominate the commemorations of the movement and how they interact in the work of two women who were not simply witnesses but took part in the musical scene: Chus Gutiérrez and Beatriz Alonso Aranzábal
  • Buse, P. and Triana Toribio, N. (2015). Ocho apellidos vascos and the Comedy of Minor Differences. Romance Quarterly [Online] 62:229-241. Available at: http://doi.org/10.1080/08831157.2015.1068637.
    This article examines the content, contexts, and intertexts of the Spanish romantic comedy Ocho apellidos vascos (Dir. Emilio Martínez-Lázaro, 2014). The film was the Spanish box office smash of 2014, and indeed of all time: within one month of its release it had attracted more spectators than any film screened in Spain except for Avatar. Critics spoke of “a social phenomenon,” trying to account for its huge success with national audiences. That success, the critics understood, had something to do with the ethnicities of the film's two lovers—one Andalusian, the other Basque—and the setting of the film, a post-ETA Basque country. Finally, it was said, Spain was able to laugh at the longest-lasting historical trauma that it had endured in the post–civil war era, and by all accounts Basque audiences laughed along with the Spanish. In this article, we consider the ways in which the film makes use of comic conventions to broach problems of difference and conflict. The conflict in question is one that, until recently, has resolutely resisted comic treatment in Spanish film. However, as we demonstrate, Ocho apellidos vascos has not emerged in a vacuum but is, in fact, in dialogue with comic traditions that run from Berlanga to contemporary Basque television and the current trend of “post-humor” in Spanish and Catalan popular culture, particularly as disseminated on the Internet. If Ocho apellidos vascos has reached and satisfied such a wide audience in Spain, it is because it articulates a key message about regionalist and nationalist identifications in a post-ETA landscape. Drawing on psychoanalytical and other theories of humor and comedy, we show how the film is a careful work of compromise, eliding conflicts and dressing up minor differences as major ones.
  • Triana Toribio, N. (2015). Film Cultures in Spain's Transition: The “Other” Transition in the Film Magazine Nuevo Fotogramas (1968–1978). Journal of Spanish Cultural Studies [Online] 15:1. Available at: http://dx.doi.org/10.1080/14636204.2014.991486.
    In the story of the fight for democratic freedom and the drive to bring Europe and the world closer to Francoist Spain, Nuevo Fotogramas (NF) deserves a central position. Fuelled by the spirit of May 1968, the long-running Barcelona-based magazine Fotogramas became NF in 1968 and set out to define the pro-democracy struggle in contrast from the Madrid-based film cultures. It also set out to engage with European cultural production as if censorship and being closed off from European modernity were simply temporary situations. NF helps us to write the transition differently, by debunking the myth of its having been a process led solely by the film-makers and critics who engaged in direct confrontation. Explaining the different approach that NF had to documenting and taking part in the cultural industries of the transition helps us to locate resistance in the “trivial” and “female” world of consumption rather than exclusively in the production sector, more often associated with visible and well-documented acts of opposition. Three aspects of the magazine contribute to this reconfiguration of inherited ideas about the transition, particularly the ethos of the publication, the writers who collaborated in it and what seems to be more “marginalia”: its letter section, “El consultorio de Mr. Belvedere”, and its advertisements.
  • Triana Toribio, N. (2014). Residual Film Cultures: Real and Imagined Futures of Spanish Cinema. Bulletin of Hispanic Studies [Online] 91:65-81. Available at: http://dx.doi.org/10.3828/bhs.2014.5.
    During the Zapatero years (2004-2011), film cultures in Spain were subjected to intense media debates around their purpose and funding. This article argues that these years were key to bringing to light certain elements of film cultures that were declining: the models of desirable national films together with the manner in which these were financed and the forms of consumption that are dear to the auteurist cinephiles who make up the bulk of cultural institutions such as the Academia de las Artes y las Ciencias Cinematográficas. These elements were challenged when non-auteurist film enthusiasts accessed power. It is argued here that these years showed deep weaknesses of the film as art model. In contrast, emergent practices that are linked to transformations of media industries attendant to a market-driven culture, and the increased transnational access to cultural contents on the Internet showed the future.
  • Triana Toribio, N. (2011). 'Ficxixón' and 'Seminci': Two Spanish Film Festivals at the End of the Festivals Era. Journal of Spanish Cultural Studies [Online] 12:217-236. Available at: http://dx.doi.org/10.1080/14636204.2011.600596.
  • Triana Toribio, N. (2008). Auteurism and Commerce in Contemporary Spanish Cinema: 'Directores Mediaticos'. Screen [Online] 49:259-276. Available at: http://dx.doi.org/10.1093/screen/hjn051.
    This article studies the evolution of auteurism and commerce in Spain using technologies such as the Internet. Spanish directors are becoming mediáticos (media friendly and using media as marketing tools) in response to the new conditions in which the national cinema is immersed among them the saturation in European screens and the ever-present competition with Hollywood. Those directors who can claim the status of auteur do so as part of their commercial strategies. In this analysis of the present-day conditions in the commerce of Spanish cinema, the focus is on two case studies of media-friendly and established auteurs, Isabel Coixet and Álex de la Iglesia who have and manage homepages where information about their work, their careers and other aspects of their authorial personas. Both auteurs can be considered to be at opposite ends of the spectrum genre cinema/art cinema within the Spanish cinema traditions. The questions that inspire this exploration deal with the functions of these homepages and what they can tell us a bout the present and future of film commerce and auteurism in Spain.

Book

  • Triana Toribio, N. (2016). Spanish Film Cultures:The Making and Unmaking of Spanish Cinema. [Online]. Palgrave: British Film Institute (changed Bloomsbury). Available at: https://www.bloomsbury.com/uk/spanish-film-cultures-9781844578214/.
    The past four decades have seen the Spanish film industry rise from isolation in the 1970s to international recognition within European and World Cinema today. Exploring the cultural and political imperatives that governed this success, this book shows how Spanish film culture was deliberately and strategically shaped into its current form.

Book section

  • Triana Toribio, N. (2017). En un lugar cualquiera de América del Norte: En la carretera transnacional con Isabel Coixet. in: Zecchi, B. ed. Tras las lentes de Isabel Coixet: Cine, Compromiso y Feminismo. Spain: Prensas de la Universidad de Zaragoza, pp. 37-66. Available at: http://puz.unizar.es/detalle/1898/Tras+las+lentes+de+Isabel+Coixet%3A+cine%2C+compromiso+y+feminismo-0.html.
    This book section is a translation into Spanish of an article first published in English in 2006. It looks at the work of Isabel Coixet and her persona as a filmmaker, situating both as part of a phenomenon within Spanish cinema which is old and new at the same time: the movement of its products and talent beyond the national borders and the transnational territories provided by the official languages (the hegemonic Castilian but also Catalan, Basque, or Galician). A 'shared' language,Castilian, and culture have permitted the passage through a transnational super-highway for stars and other cinema professionals among Castilian-speaking communities (...) as part of a cultural and economic strategy that tends to focus on the interests of Spain and Castilian. There is, however, another road only occasionally traveled and this is the one that Coixet has chosen. Some of her films have been conceived and consumed transnationally, shot in English with a mainly Anglo-Saxon cast and set in English-speaking communities (be it North America or the middle of the Atlantic.. These films are thus traveling another road -the road to American cinema. Both Coixet and her oeuvre engage with the demands and strategies of globalization and the attendant issues of space and place, but they can also be read as forms of resistance to narrowly prescriptive ideas of national cinema and labels such as Spanish/ Catalan/ European / Woman filmmaker.
  • Triana Toribio, N. (2013). Building Latin American Cinema in Europe: Cine en Construcción/ Cinéma en construction. in: Dennison, S. ed. Transnational Film Financing. Woodbridge: Tamesis, pp. 89-112.
  • Triana Toribio, N. (2012). 'El otro lado de la cama': Remixed Transition (1973-1982). in: Shaw, L., Stone, R. and Biddle, I. eds. Screening Songs in Hispanic and Lusophone Cinema. Manchester: Manchester University Press. Available at: http://www.manchesteruniversitypress.co.uk/cgi-bin/indexer?product=9780719083808.

Forthcoming

  • Triana Toribio, N. (2018). Spanish cinema of the 2010s: Back to Punk and other lessons from the crisis. Hispanic Research Journal.
    This article focuses on how Spanish cinema production has echoed the neoliberal Eurozone crisis of 2008 in mainstream (large and medium size productions), and in its "opposite" the independent sector, and how the effects of the crisis can be glimpsed (within the independent sector) on music (mostly Punk) documentaries which are not ostensibly about the economy, current politics or even the present. I suggest a course through the different ways in which Spanish cinema has been touched by the crisis: through the films of "crisis cinema" to those that focus on the 1980s and early 1990s and its youth led and Punk inspired musical revolutions, via films whose strategy is to address the 2008 to 2017 period in an indirect manner, or to retreat to the pre-2008 past. My ultimate aim is to prove that this seismic change to Spain’s society has forced a re-engagement with the present and the past.
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