Pub Date : 2021-08-02DOI: 10.1080/24741604.2021.1938455
C. Rocha
Abstract In less than ten years, Álvaro Brechner made three films that garnered numerous awards and invitations to film festivals around the world. In this article, I analyse Mal día para pescar (2009) and Mr Kaplan (2014) as ‘buddy films’ in which the stamina and values of older men are put to the test. I suggest that what unites the buddies in these films is their difference, which complements their loss of power due to due to their age. The aging characters in these films face the choice of either being heroic or losing their moral values.
在不到十年的时间里，Álvaro Brechner制作了三部电影，获得了无数奖项和世界各地电影节的邀请。在这篇文章中，我分析了Mal día para pescar(2009)和Mr Kaplan(2014)作为“兄弟电影”，在这些电影中，年长男性的耐力和价值观受到了考验。我认为，在这些电影中，把兄弟们团结在一起的是他们的差异，这弥补了他们因年龄而失去的力量。这些电影中的老年角色面临着要么成为英雄，要么失去道德价值观的选择。
{"title":"Uruguayan Masculinities in Álvaro Brechner’s Buddy Films Mal día para pescar and Mr Kaplan","authors":"C. Rocha","doi":"10.1080/24741604.2021.1938455","DOIUrl":"https://doi.org/10.1080/24741604.2021.1938455","url":null,"abstract":"Abstract In less than ten years, Álvaro Brechner made three films that garnered numerous awards and invitations to film festivals around the world. In this article, I analyse Mal día para pescar (2009) and Mr Kaplan (2014) as ‘buddy films’ in which the stamina and values of older men are put to the test. I suggest that what unites the buddies in these films is their difference, which complements their loss of power due to due to their age. The aging characters in these films face the choice of either being heroic or losing their moral values.","PeriodicalId":37212,"journal":{"name":"Bulletin of Spanish Visual Studies","volume":"6 1","pages":"25 - 43"},"PeriodicalIF":0.0,"publicationDate":"2021-08-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47836229","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-07-03DOI: 10.1080/24741604.2021.1951050
S. Belenguer, J. Rothwell
BAYÓ BELENGUER, SUSANA & ROTHWELL, JENNIE, Introduction: The Female Imagination in Spanish Theatre and Cinema (in The Female Imagination in Spanish Theatre and Cinema, ed. Susana Bayó Belenguer & Jennie Rothwell), 189–216. DAVIES, RHIAN, Hidden Secrets, Utopias, Ghosts and the Hispanic Periphery in Los abrazos rotos (2009): Pedro Almodóvar’s Homage to Lanzarote and César Manrique, 31–60. FARRELLY, MARY, Seen and Unseen: Women, Spirituality and the Gaze on the Spanish Stage and Screen (in The Female Imagination in Spanish Theatre and Cinema, ed. Susana Bayó Belenguer & Jennie Rothwell), 325–45. FRASER, BENJAMIN, El ingenio visual de Miguel Noguera: el noveno arte vs la literatura en el cómic ‘Camilo José Cela’ (2010), 111–33. GONZÁLEZ DE CANALES CARCERENY, JÚLIA, La obra fílmica de Lucrecia Martel, Paz Encina y Tatiana Huezo a la luz del actual cine poético latinoamericano: una superación del Tercer Cine, 91–110. KEOWN, DOMINIC, When Gala met Colometa: Silvia Munt’s Documentary on the Dalinian Muse (in The Female Imagination in Spanish Theatre and Cinema, ed. Susana Bayó Belenguer & Jennie Rothwell), 217–33. LAVERY, JANE ELIZABETH, The Reception of Día de Muertos and Frida Kahlo and Their Reincarnations in the United Kingdom (2015–2020): A Question of Cultural Degeneration or Rejuvenation (Again!)?, 135–67. LEEN, CATHERINE, ShadowMen and Real Women: Shifting the Paradigms of the Chicana/o Family in Cherríe Moraga’s Shadow of a Man and Josefina López’s Real Women Have Curves (in The Female Imagination in Spanish Theatre and Cinema, ed. Susana Bayó Belenguer & Jennie Rothwell), 287–300. O’LEARY, CATHERINE, Tracing a Female History of the Theatre in Spain: From la nueva mujer moderna to the Backlash and Beyond (in The Female Imagination in Spanish Theatre and Cinema, ed. Susana Bayó Belenguer & Jennie Rothwell), 255–86. PARÍS-HUESCA, EVA, Let Us Not Forget: Female Agency and Historical (Dis)remembering in Patricia Ferreira’s Film Sé quién eres (in The Female Imagination in Spanish Theatre and Cinema, ed. Susana Bayó Belenguer & Jennie Rothwell), 301–23. PEÑA ARDID, CARMEN, De tu ventana a la mía (Paula Ortiz, 2011): genealogías femeninas en la trama de la cultura (in The Female Imagination in Spanish Theatre and Cinema, ed. Susana Bayó Belenguer & Jennie Rothwell), 347–65. *ROJINSKY, DAVID, Reconciling Myth with Photographic Histories in Leandro Katz’s El día que me quieras, 1–30. ROTHWELL, JENNIE, see Bayó Belenguer, Susana. SALMON, KATIE, Shame and Eviction in Juan Miguel del Castillo’s Techo y comida (2015), 61–89. TURC-ZINOPOULOS, SYLVIE, Rosario de Acuña: el teatro y la madre-patriota en La voz de la patria (1893) (in The Female Imagination in Spanish Theatre and Cinema, ed. Susana Bayó Belenguer & Jennie Rothwell), 235–54.
bayo BELENGUER, SUSANA & ROTHWELL, JENNIE, Introduction: The Female Imagination in Spanish Theatre and Cinema, ed. SUSANA bayo BELENGUER & JENNIE ROTHWELL, 189 - 216。DAVIES, RHIAN, Hidden Secrets, Utopias, Ghosts and the Hispanic peripheric in Los abrazos rotos (2009): Pedro almodovar 's Homage to Lanzarote and cesar Manrique, 31 - 60。《看与看:西班牙舞台和银幕上的女性、精神和凝视》(in the Female Imagination in Spanish Theatre and Cinema, ed. Susana bayo Belenguer & Jennie Rothwell)， 325 - 45。本杰明·弗雷泽，《米格尔·诺格拉的视觉天才:卡米洛jose Cela漫画书中的第九艺术与文学》(2010)，111 - 33。gonzalez DE CANALES CARCERENY, julia, Lucrecia Martel, Paz Encina和Tatiana Huezo的电影作品，根据当前拉丁美洲诗歌电影:una superacion del Tercer cine, 91 - 110。多米尼克·基翁，《When Gala met Colometa: Silvia Munt’s Documentary on the Dalinian Muse (in the Female Imagination in Spanish Theatre and film, ed. Susana bayo Belenguer & Jennie Rothwell)》，217 - 33。LAVERY, JANE ELIZABETH, The Reception of dia de Muertos and Frida Kahlo and Their reincarnation in United Kingdom (2015 - 2020): A Question of Cultural Degeneration or Rejuvenation (Again!), 135—67。LEEN, CATHERINE, ShadowMen and Real Women: Shifting the paradigm of the Chicana/o Family in cherrie Moraga 's Shadow of a Man and Josefina lopez 's Real Women Have Curves (in the Female Imagination in Spanish Theatre and Cinema, ed. Susana bayo Belenguer & Jennie Rothwell)， 287 - 300。凯瑟琳·奥利里(CATHERINE O’leary)，《追溯西班牙戏剧女性历史:从la nueva mujer moderna到Backlash and Beyond》(in the Female Imagination in Spanish Theatre and Cinema, ed. Susana bayo Belenguer & Jennie Rothwell)， 255 - 86。paris - huesca, EVA, Let Us Not Forget: Female Agency and Historical (Dis)remembering in Patricia Ferreira 's Film se quien eres (in The Female Imagination in Spanish Theatre and Cinema, ed. Susana bayo Belenguer & Jennie Rothwell)， 301 - 23。pena ARDID, CARMEN, De tu ventana a la mia (Paula Ortiz, 2011): genealogias femeninas en la trama De la cultura (in The Female Imagination in Spanish Theatre and Cinema, ed. Susana bayo Belenguer & Jennie Rothwell)， 347 - 65。*ROJINSKY, DAVID, Leandro Katz的El dia que me quieras, 1 - 30。ROTHWELL, JENNIE，见bayo Belenguer, Susana。《胡安·米格尔·德尔·卡斯蒂略的Techo y comida》(2015)，61 - 89。TURC-ZINOPOULOS, SYLVIE, Rosario de acuna: el teatro y la madre patriota en la voz de la patria (1893) (in The Female Imagination in Spanish Theatre and Cinema, ed. Susana bayo Belenguer & Jennie Rothwell)， 235 - 54。
{"title":"Annual Index, Volume V (2021)","authors":"S. Belenguer, J. Rothwell","doi":"10.1080/24741604.2021.1951050","DOIUrl":"https://doi.org/10.1080/24741604.2021.1951050","url":null,"abstract":"BAYÓ BELENGUER, SUSANA & ROTHWELL, JENNIE, Introduction: The Female Imagination in Spanish Theatre and Cinema (in The Female Imagination in Spanish Theatre and Cinema, ed. Susana Bayó Belenguer & Jennie Rothwell), 189–216. DAVIES, RHIAN, Hidden Secrets, Utopias, Ghosts and the Hispanic Periphery in Los abrazos rotos (2009): Pedro Almodóvar’s Homage to Lanzarote and César Manrique, 31–60. FARRELLY, MARY, Seen and Unseen: Women, Spirituality and the Gaze on the Spanish Stage and Screen (in The Female Imagination in Spanish Theatre and Cinema, ed. Susana Bayó Belenguer & Jennie Rothwell), 325–45. FRASER, BENJAMIN, El ingenio visual de Miguel Noguera: el noveno arte vs la literatura en el cómic ‘Camilo José Cela’ (2010), 111–33. GONZÁLEZ DE CANALES CARCERENY, JÚLIA, La obra fílmica de Lucrecia Martel, Paz Encina y Tatiana Huezo a la luz del actual cine poético latinoamericano: una superación del Tercer Cine, 91–110. KEOWN, DOMINIC, When Gala met Colometa: Silvia Munt’s Documentary on the Dalinian Muse (in The Female Imagination in Spanish Theatre and Cinema, ed. Susana Bayó Belenguer & Jennie Rothwell), 217–33. LAVERY, JANE ELIZABETH, The Reception of Día de Muertos and Frida Kahlo and Their Reincarnations in the United Kingdom (2015–2020): A Question of Cultural Degeneration or Rejuvenation (Again!)?, 135–67. LEEN, CATHERINE, ShadowMen and Real Women: Shifting the Paradigms of the Chicana/o Family in Cherríe Moraga’s Shadow of a Man and Josefina López’s Real Women Have Curves (in The Female Imagination in Spanish Theatre and Cinema, ed. Susana Bayó Belenguer & Jennie Rothwell), 287–300. O’LEARY, CATHERINE, Tracing a Female History of the Theatre in Spain: From la nueva mujer moderna to the Backlash and Beyond (in The Female Imagination in Spanish Theatre and Cinema, ed. Susana Bayó Belenguer & Jennie Rothwell), 255–86. PARÍS-HUESCA, EVA, Let Us Not Forget: Female Agency and Historical (Dis)remembering in Patricia Ferreira’s Film Sé quién eres (in The Female Imagination in Spanish Theatre and Cinema, ed. Susana Bayó Belenguer & Jennie Rothwell), 301–23. PEÑA ARDID, CARMEN, De tu ventana a la mía (Paula Ortiz, 2011): genealogías femeninas en la trama de la cultura (in The Female Imagination in Spanish Theatre and Cinema, ed. Susana Bayó Belenguer & Jennie Rothwell), 347–65. *ROJINSKY, DAVID, Reconciling Myth with Photographic Histories in Leandro Katz’s El día que me quieras, 1–30. ROTHWELL, JENNIE, see Bayó Belenguer, Susana. SALMON, KATIE, Shame and Eviction in Juan Miguel del Castillo’s Techo y comida (2015), 61–89. TURC-ZINOPOULOS, SYLVIE, Rosario de Acuña: el teatro y la madre-patriota en La voz de la patria (1893) (in The Female Imagination in Spanish Theatre and Cinema, ed. Susana Bayó Belenguer & Jennie Rothwell), 235–54.","PeriodicalId":37212,"journal":{"name":"Bulletin of Spanish Visual Studies","volume":"5 1","pages":"367 - 368"},"PeriodicalIF":0.0,"publicationDate":"2021-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/24741604.2021.1951050","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45787387","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-07-03DOI: 10.1080/24741604.2021.1925441
Catherine O’Leary
Abstract The history of women in the Spanish theatre from the early twentieth century to today not only reflects the evolution of the stage, but also charts the social and political transformation of Spain. Despite their absence from many anthologies and histories, it is evident that women played a significant and innovative role in the theatre. Offering a panoramic view of women in the Spanish theatre, this article observes certain patterns in their theatrical practice and choice of themes. In addition, it highlights the reception of their plays and, in particular, their interactions with the State at the level of censorship.
{"title":"Tracing a Female History of the Theatre in Spain: From la nueva mujer moderna to the Backlash and Beyond","authors":"Catherine O’Leary","doi":"10.1080/24741604.2021.1925441","DOIUrl":"https://doi.org/10.1080/24741604.2021.1925441","url":null,"abstract":"Abstract The history of women in the Spanish theatre from the early twentieth century to today not only reflects the evolution of the stage, but also charts the social and political transformation of Spain. Despite their absence from many anthologies and histories, it is evident that women played a significant and innovative role in the theatre. Offering a panoramic view of women in the Spanish theatre, this article observes certain patterns in their theatrical practice and choice of themes. In addition, it highlights the reception of their plays and, in particular, their interactions with the State at the level of censorship.","PeriodicalId":37212,"journal":{"name":"Bulletin of Spanish Visual Studies","volume":"5 1","pages":"255 - 286"},"PeriodicalIF":0.0,"publicationDate":"2021-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/24741604.2021.1925441","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45670469","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-03-12DOI: 10.1080/24741604.2021.1878746
Susana Bayó Belenguer, J. Rothwell
Abstract As the articles in this Special Issue are located in Hispanic theatre and cinema, this Introduction takes as its central theme the very live concerns of gender parity within those industries. Allowing professionals to speak for themselves, and calling on research findings, it overviews organizations, initiatives and technological innovations that are together offering hopeful signs of an emerging balance of influence between men and women in these important professional and social fields of challenge and opportunity.
{"title":"Introduction The Female Imagination in Spanish Theatre and Cinema","authors":"Susana Bayó Belenguer, J. Rothwell","doi":"10.1080/24741604.2021.1878746","DOIUrl":"https://doi.org/10.1080/24741604.2021.1878746","url":null,"abstract":"Abstract As the articles in this Special Issue are located in Hispanic theatre and cinema, this Introduction takes as its central theme the very live concerns of gender parity within those industries. Allowing professionals to speak for themselves, and calling on research findings, it overviews organizations, initiatives and technological innovations that are together offering hopeful signs of an emerging balance of influence between men and women in these important professional and social fields of challenge and opportunity.","PeriodicalId":37212,"journal":{"name":"Bulletin of Spanish Visual Studies","volume":"5 1","pages":"189 - 216"},"PeriodicalIF":0.0,"publicationDate":"2021-03-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/24741604.2021.1878746","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45526009","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-03-11DOI: 10.1080/24741604.2021.1880203
D. Keown
Abstract As Colometa, folk-heroine of Rodoreda’s La plaça del Diamant brought to the screen in 1982 by Francesc Betriu, Silvia Munt became typecast as Catalonia’s downtrodden girl next door. So it is not surprising that, as director, the subject of her 2003 documentary should be the complete antithesis: Dalí’s irrepressible and empowered muse, Gala. In this essay, Munt not only offers a defence of this vamp, sphynx and scarlet-lady—as imagined biographically by the insecure male psyche—but offers an alternative role model for Catalan women and, with appreciable expertise in the documentary mode, offers a re-definition of Catalan national cinema.
{"title":"When Gala met Colometa: Silvia Munt’s Documentary on the Dalinian Muse","authors":"D. Keown","doi":"10.1080/24741604.2021.1880203","DOIUrl":"https://doi.org/10.1080/24741604.2021.1880203","url":null,"abstract":"Abstract As Colometa, folk-heroine of Rodoreda’s La plaça del Diamant brought to the screen in 1982 by Francesc Betriu, Silvia Munt became typecast as Catalonia’s downtrodden girl next door. So it is not surprising that, as director, the subject of her 2003 documentary should be the complete antithesis: Dalí’s irrepressible and empowered muse, Gala. In this essay, Munt not only offers a defence of this vamp, sphynx and scarlet-lady—as imagined biographically by the insecure male psyche—but offers an alternative role model for Catalan women and, with appreciable expertise in the documentary mode, offers a re-definition of Catalan national cinema.","PeriodicalId":37212,"journal":{"name":"Bulletin of Spanish Visual Studies","volume":"5 1","pages":"217 - 233"},"PeriodicalIF":0.0,"publicationDate":"2021-03-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/24741604.2021.1880203","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46127314","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-03-05DOI: 10.1080/24741604.2021.1873608
Sylvie Turc-Zinopoulos
Abstract La crítica se ha despreocupado de La voz de la patria (1893), drama en un acto y en verso de Rosario de Acuña. Sin embargo, si a primera vista esta pieza parece meramente propagandística en un contexto de guerra, una segunda lectura pone énfasis en la promoción de la madre ideal, la madre-patriota que se opone a la madre castrante desde una visión dicotómica. Para movilizar a los españoles, la autora se convierte en mujer de teatro en el sentido pleno de la palabra. Tales serán los temas que abordaremos en esta obrita algo minusvalorada de Rosario de Acuña.
《抽象批评》(Abstract La critica se desconcertacion de La voz de La patria, 1893)，罗萨里奥·德acuna的独幕剧和诗歌。然而，如果乍一看，这篇文章似乎只是在战争背景下的宣传，那么第二篇阅读则强调宣传理想母亲，爱国母亲，从二分法的角度反对阉割母亲。为了动员西班牙人，作者成为了一个真正意义上的戏剧女性。这些都是我们将在罗萨里奥·德·acuna的这部有点被低估的作品中讨论的问题。
{"title":"Rosario de Acuña: el teatro y la madre-patriota en La voz de la patria (1893)","authors":"Sylvie Turc-Zinopoulos","doi":"10.1080/24741604.2021.1873608","DOIUrl":"https://doi.org/10.1080/24741604.2021.1873608","url":null,"abstract":"Abstract La crítica se ha despreocupado de La voz de la patria (1893), drama en un acto y en verso de Rosario de Acuña. Sin embargo, si a primera vista esta pieza parece meramente propagandística en un contexto de guerra, una segunda lectura pone énfasis en la promoción de la madre ideal, la madre-patriota que se opone a la madre castrante desde una visión dicotómica. Para movilizar a los españoles, la autora se convierte en mujer de teatro en el sentido pleno de la palabra. Tales serán los temas que abordaremos en esta obrita algo minusvalorada de Rosario de Acuña.","PeriodicalId":37212,"journal":{"name":"Bulletin of Spanish Visual Studies","volume":"5 1","pages":"235 - 254"},"PeriodicalIF":0.0,"publicationDate":"2021-03-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/24741604.2021.1873608","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42364964","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-03-05DOI: 10.1080/24741604.2021.1873640
Carmen Peña Ardid
Abstract Este artículo examina cómo en De tu ventana a la mía/Chrysallis la opción estética de Paula Ortiz trasciende la representación realista a través del mito y la estilización simbólica. Contribuye a ello el apoyo en múltiples referentes culturales (pictóricos, literarios, cinematográficos) que adensan el sentido en su puesta en escena y en su construcción narrativa. Al narrar de forma convergente tres historias de (des)amor, desengaño y resistencia, la película crea convergencias que configuran una genealogía femenina de mujeres invisibles, sin historia, que avanzan no obstante de la sumisión a la emancipación para reclamar su lugar como sujetos de la Historia.
本文探讨了Paula Ortiz在《De tu ventana a la mia /Chrysallis》中如何通过神话和象征风格化超越现实主义表现。在这方面，它提供了多种文化参照(绘画、文学、电影)的支持，这些文化参照加强了其舞台和叙事结构的意义。这部电影以一种融合的方式讲述了三个关于爱、失望和抵抗的故事，创造了一个由无形的、没有历史的女性组成的女性谱系，尽管如此，她们从服从走向解放，重新获得了作为历史主体的地位。
{"title":"De tu ventana a la mía (Paula Ortiz, 2011): genealogías femeninas en la trama de la cultura","authors":"Carmen Peña Ardid","doi":"10.1080/24741604.2021.1873640","DOIUrl":"https://doi.org/10.1080/24741604.2021.1873640","url":null,"abstract":"Abstract Este artículo examina cómo en De tu ventana a la mía/Chrysallis la opción estética de Paula Ortiz trasciende la representación realista a través del mito y la estilización simbólica. Contribuye a ello el apoyo en múltiples referentes culturales (pictóricos, literarios, cinematográficos) que adensan el sentido en su puesta en escena y en su construcción narrativa. Al narrar de forma convergente tres historias de (des)amor, desengaño y resistencia, la película crea convergencias que configuran una genealogía femenina de mujeres invisibles, sin historia, que avanzan no obstante de la sumisión a la emancipación para reclamar su lugar como sujetos de la Historia.","PeriodicalId":37212,"journal":{"name":"Bulletin of Spanish Visual Studies","volume":"5 1","pages":"347 - 365"},"PeriodicalIF":0.0,"publicationDate":"2021-03-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/24741604.2021.1873640","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47539259","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-03-05DOI: 10.1080/24741604.2021.1873619
Eva París-Huesca
Abstract Neo-noir has been employed since the end of the Franco regime to explore Spain’s dark and turbulent history. This article focuses on Patricia Ferreira’s film Sé quién eres (2000), where she transforms the genre of neo-noir into a vehicle of female empowerment and a powerful tool for societal critique. With a daring approach, Ferreira uses the lens of gender to explore the ‘politics of memory’ in Spain, questioning the validity of the official discourse surrounding the supposed peaceful process of the Spanish Transition, while giving the female subject a privileged role in the process of historical revisionism.
{"title":"Let Us Not Forget: Female Agency and Historical (Dis)remembering in Patricia Ferreira’s Film Sé quién eres","authors":"Eva París-Huesca","doi":"10.1080/24741604.2021.1873619","DOIUrl":"https://doi.org/10.1080/24741604.2021.1873619","url":null,"abstract":"Abstract Neo-noir has been employed since the end of the Franco regime to explore Spain’s dark and turbulent history. This article focuses on Patricia Ferreira’s film Sé quién eres (2000), where she transforms the genre of neo-noir into a vehicle of female empowerment and a powerful tool for societal critique. With a daring approach, Ferreira uses the lens of gender to explore the ‘politics of memory’ in Spain, questioning the validity of the official discourse surrounding the supposed peaceful process of the Spanish Transition, while giving the female subject a privileged role in the process of historical revisionism.","PeriodicalId":37212,"journal":{"name":"Bulletin of Spanish Visual Studies","volume":"5 1","pages":"301 - 323"},"PeriodicalIF":0.0,"publicationDate":"2021-03-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/24741604.2021.1873619","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43043511","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-03-05DOI: 10.1080/24741604.2021.1873661
Catherine Leen
Abstract The works studied here illuminate the repression of Chicana/o women through their focus on family gender divisions. Hailed by Chicano writers as the bedrock of Chicana/o society and a refuge from the racism of US society, the family is re-imagined in these works and in the film based on López’s play. Although these works received very different critical analyses, I argue that they have much in common. I propose that rather than rejecting the family, they offer new role models to Chicanas that allow for fluid sexual identities and the pursuit of goals that do not accord with Mexican tradition.
{"title":"Shadow Men and Real Women: Shifting the Paradigms of the Chicana/o Family in Cherríe Moraga’s Shadow of a Man and Josefina López’s Real Women Have Curves","authors":"Catherine Leen","doi":"10.1080/24741604.2021.1873661","DOIUrl":"https://doi.org/10.1080/24741604.2021.1873661","url":null,"abstract":"Abstract The works studied here illuminate the repression of Chicana/o women through their focus on family gender divisions. Hailed by Chicano writers as the bedrock of Chicana/o society and a refuge from the racism of US society, the family is re-imagined in these works and in the film based on López’s play. Although these works received very different critical analyses, I argue that they have much in common. I propose that rather than rejecting the family, they offer new role models to Chicanas that allow for fluid sexual identities and the pursuit of goals that do not accord with Mexican tradition.","PeriodicalId":37212,"journal":{"name":"Bulletin of Spanish Visual Studies","volume":"5 1","pages":"287 - 300"},"PeriodicalIF":0.0,"publicationDate":"2021-03-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/24741604.2021.1873661","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47831042","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-03-05DOI: 10.1080/24741604.2021.1873587
M. Farrelly
Abstract Drawing from Jean-Luc Marion’s discussion of the ‘crossing of gazes’ in religious art, this article explores the complex relationship between the spectacle of the religious experience and its spectators, as well as that spectacle’s highly gendered nature. In contrast to earlier representations of religious women on stage and screen, the performances of feminine spirituality in Javier Ambrossi and Javier Calvo’s 2013 musical La llamada and Chema Tena’s 2017 production of Argentine playwright María Marull’s La Pilarcita centre female spiritual experience and further the self-actualization of the characters, confounding the scopic regimes that governed earlier productions.
{"title":"Seen and Unseen: Women, Spirituality and the Gaze on the Spanish Stage and Screen","authors":"M. Farrelly","doi":"10.1080/24741604.2021.1873587","DOIUrl":"https://doi.org/10.1080/24741604.2021.1873587","url":null,"abstract":"Abstract Drawing from Jean-Luc Marion’s discussion of the ‘crossing of gazes’ in religious art, this article explores the complex relationship between the spectacle of the religious experience and its spectators, as well as that spectacle’s highly gendered nature. In contrast to earlier representations of religious women on stage and screen, the performances of feminine spirituality in Javier Ambrossi and Javier Calvo’s 2013 musical La llamada and Chema Tena’s 2017 production of Argentine playwright María Marull’s La Pilarcita centre female spiritual experience and further the self-actualization of the characters, confounding the scopic regimes that governed earlier productions.","PeriodicalId":37212,"journal":{"name":"Bulletin of Spanish Visual Studies","volume":"5 1","pages":"325 - 345"},"PeriodicalIF":0.0,"publicationDate":"2021-03-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/24741604.2021.1873587","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42564862","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：