Pub Date : 2021-01-02DOI: 10.1080/24741604.2021.1876381
Rhian Davies
Abstract Taking as my starting point Almodóvar’s statement that Los abrazos rotos contains ‘una historia que subyace a todas las demás’ and building upon Javier Herrera’s attention to the ‘doubling’ within the film, together with María Delgado’s and Katarzyna Beilin’s claims that it can be linked to questions of historical memory, in this article I will examine in greater detail Almodóvar’s comments regarding the influence of Lanzarote and the prominent Lanzarotean artist/sculptor César Manrique on this film. After analysing the scenes that take place on the island and assessing their relevance to the film as a whole, I contend that Lanzarote is a prime force and, furthermore, that Los abrazos rotos contains strong links with the work, life and death of Manrique, whom Almodóvar met during his visit to the island in 1986. Finally, I propose that it is through exploring the significance of Lanzarote and Manrique in this complex, multi-layered film that we can fully appreciate Almodóvar’s engagement with contemporary Spanish issues in Los abrazos rotos and the way in which he uses the film to raise provocative questions about Spain’s present, past and future, the status and role of the Hispanic periphery and the construction of utopias.
以Almodóvar关于Los abrazos rotos包含“una historia que subyace a todas las demás”的声明为出发点，并以Javier Herrera对电影中“双重”的关注为基础，以及María Delgado和Katarzyna Beilin关于它可以与历史记忆问题联系起来的说法为基础，在这篇文章中，我将更详细地研究Almodóvar关于兰萨罗特岛和著名兰萨罗特艺术家/雕塑家csamar Manrique对这部电影的影响的评论。在分析了岛上发生的场景并评估了它们与整部电影的相关性之后，我认为兰萨罗特岛是主要的力量，此外，Los abrazos rotos与Manrique的工作、生活和死亡有着密切的联系，Almodóvar在1986年访问该岛时遇到了Manrique。最后，我认为通过探索兰萨罗特和曼里克在这部复杂，多层次的电影中的重要性，我们可以充分欣赏Almodóvar在Los abrazos rotos中与当代西班牙问题的接触，以及他利用这部电影提出关于西班牙的现在，过去和未来，西班牙外围地区的地位和角色以及乌托邦建设的挑衅问题的方式。
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Pub Date : 2021-01-02DOI: 10.1080/24741604.2021.1911468
Júlia González De Canales Carcereny
Abstract El Tercer cine es mundialmente conocido como aquella tradición cinematográfica que, desde los años 50 pero especialmente en los 60 y 70, revolucionó el cine del continente latinoamericano con propuestas estéticas militantes y contra-normativas, opuestas a las tendencias dominantes en el cine comercial. A lo largo de estas décadas fue, sin embargo, transformándose y, al día de hoy, cabe comprenderlo en su vertiente de influencia estética en el actual cine poético latinoamericano. A sabiendas del desigual desarrollo de las corrientes refundadoras del cine latinoamericano en los distintos países, y asumiendo la inevitable perspectiva histórica que nos ofrece el momento actual, este artículo busca estudiar cómo el proyecto ideológico subalterno defendido por el Tercer Cine ha encontrado un heredero en las actuales propuestas fílmico-poéticas latinoamericanas. Para ello, el presente ensayo toma como material de estudio la obra cinematográfica de Lucrecia Martel, Paz Encina y Tatiana Huezo, examinando los puntos de (des)vinculación entre sus poéticas películas y sus precedentes históricos latinoamericanos. De esta manera, el artículo concluye que, si bien el actual cine latinoamericano debe ser concebido como heredero de las prácticas artístico-políticas defendidas por el Tercer Cine, no puede ser reducido a ellas, sino que debe ser estudiado como una superación de las mismas.
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Pub Date : 2021-01-02DOI: 10.1080/24741604.2021.1890432
J. Lavery
Abstract Día de Muertos, its (mis)appropriation and ‘halloweenization’, is an underexplored area in the context of recent (non-)British cultural production examples and the reception and consumption of this phenomenon in the UK (2015–2020). Appadurian mediascapes (Coco [2017], [online] media, Strictly Come Dancing [2004–]) and retailers reinforce halloweenized understandings of this Mexican practice, whilst awareness of Día is propelled by local community events. The 2018 Frida Kahlo Victoria and Albert Museum’s exhibition conflates Día with the similarly deterritorialized (García Canclini), halloweenized artist. The co-optation of Kahlo/Día as globalized reincarnations provoke opposing responses, from appropriation as either denigrative or culturally/economically beneficial.
摘要Día de Muertos，它的(错误)占用和“万圣节化”，是最近(非)英国文化生产实例以及英国(2015-2020)对这一现象的接受和消费的背景下一个未被充分探索的领域。阿帕杜里亚媒体(Coco[2017]，[在线]媒体，Strictly Come Dancing[2004 -])和零售商加强了对这种墨西哥习俗的万圣节理解，而Día的意识则受到当地社区活动的推动。2018年弗里达·卡罗(Frida Kahlo)维多利亚和阿尔伯特博物馆(Victoria and Albert Museum)的展览将Día与同样去属地化(García Canclini)的万圣节艺术家混为一谈。Kahlo/Día作为全球化转世的合作引发了反对的反应，从诋毁或文化/经济上有益的挪用。
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Pub Date : 2021-01-02DOI: 10.1080/24741604.2021.1893048
Benjamin Fraser
Abstract Este trabajo explora la producción humorística y visual de un artista multidisciplinar grancanario cuya popularidad no siempre ha sido acompañada por el reconocimiento crítico que él merece. En sus publicaciones y en sus 'Ultrashows', Miguel Noguera presenta sus 'ideas'—combinaciones de palabras e imágenes cuyo contenido contiene matices críticas, al menos para los espectadores y lectores que estén listos para percibirlas. El cómic titulado 'Camilo José Cela', publicado en Hervir un oso , ofrece la oportunidad para comentar su estilo vanguardista, trazar el desarrollo del cómic ibérico, y reivindicarlo frente al prestigio de la literatura como institución social y cultura canonizada.
这个作品探索了一个多学科艺术家的幽默和视觉创作，他的流行并不总是伴随着他应得的批评认可。在他的出版物和他的“Ultrashows”中，Miguel Noguera提出了他的“想法”——文字和图像的组合，其内容包含了关键的细微差别，至少对那些准备好感知它们的观众和读者来说是这样。在Hervir un oso上发表的名为“Camilo jose Cela”的漫画提供了一个机会来评论他的前卫风格，追溯伊比利亚漫画的发展，并在文学作为一种社会制度和被尊为圣徒的文化的威望面前捍卫它。
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Pub Date : 2021-01-02DOI: 10.1080/24741604.2021.1875731
K. Salmon
In 2014, Spain’s then prime minister Mariano Rajoy declared: ‘La crisis ya es historia’. This proclamation of recovery was based solely on macro-economic indicators and reinforced a flawed hegemonic narrative equating progress with economic growth. It ignored what Labrador Méndez calls ‘historias de vida subprime’: subjective and affective accounts of the enduring eviction crisis triggered by the 2008 financial meltdown and strict austerity measures. Juan Miguel del Castillo’s film Techo y comida is one such ‘subprime’ life story. It follows Rocío, a young, unemployed, single mother facing eviction from her rental property in the absence of state or community support. Exposing the flipside to the Rajoy’s statistics, the film reveals the increasingly brutal ‘expulsions’ (Sassen) that facilitate GDP recuperation. It politicizes through affect, showing that shame functions as a mechanism for social exclusion and normalisation but also as a catalyst for altruism. Within the diegesis, Del Castillo uncovers the potent, subjective shame that conceals expulsions and allows them to proliferate. This concurrently engenders shame in the spectator, encouraging them to consider their part in sustaining these degrading processes at micro-level and pointing them towards ‘non-capitalist practices’ (Castells et al).
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Pub Date : 2020-07-02DOI: 10.1080/24741604.2020.1825109
Bryan Cameron, Rhiannon McGlade
Abstract This monographic issue examines cultural and political dissent from late Francoism to the global financial crash of 2008 and the ensuing crisis years in Spain. The issue’s focal lens of ‘visual print media’ (VPM)—a capacious term comprising comics, tebeos, cartoons, zines and graphic novels—represents a holistic approach to form, social impact and the creative and collective practices involved in production. Out of the Gutter engages these publications in their role as vehicles for cultural resistance, which test the boundaries of censorship, political expression and personal freedom as well as the cracks in the foundations of civil society in contemporary Spain. The ‘gutter’, that liminal space between comic panels, is representative of VPM’s unique visual-verbal interplay and the way in which this formal feature can be mobilized as a tool for mapping genealogies of dissent.
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Pub Date : 2020-07-02DOI: 10.1080/24741604.2020.1827611
R. Prout
Abstract This article uses new economic and activist histories of Spain’s housing sector to read the representation of residential spaces in Spanish comics and graphic novels from 13, Rue del Percebe (Francisco Ibáñez, 1961) to Españistán (Aleix Saló, 2011), and La casa (Paco Roca, 2015). It examines how visual narrative art from Spain reflects continuities between housing strategy in the Franco era and its enduring effects on Spain’s economy following the 2008 crisis. The article presents a close reading of the innovative formal, narrative, and genre-specific techniques employed by Paco Roca in La casa. Its discrete sections articulate an economic and social history suturing the dictatorship period and the post-transitional democratic era, around the triadic development model (tourism-construction-financial development) pursued in Spain since the 1950s.
摘要本文利用西班牙住房部门的新经济和活动家历史，阅读了从13、Rue del Percebe（Francisco Ibáñez，1961）到Españistán（Aleix Saló，2011）和La casa（Paco Roca，2015）的西班牙漫画和平面小说中住宅空间的表现。它考察了西班牙的视觉叙事艺术如何反映佛朗哥时代的住房战略及其在2008年危机后对西班牙经济的持久影响之间的连续性。这篇文章细读了帕科·罗卡在《拉卡萨》中采用的创新的形式、叙事和特定类型的技术。它的离散部分讲述了西班牙自20世纪50年代以来奉行的三元发展模式（旅游建设-金融发展）的独裁时期和后过渡民主时代的经济和社会历史。
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Pub Date : 2020-07-02DOI: 10.1080/24741604.2020.1825158
I. Iranzo
Abstract El presente artículo da cuenta de una investigación sobre los gestos y formas de representación de la Guerra Civil española y la dictadura de Franco en el cómic contemporáneo. Las fisuras en la articulación de la Transición democrática española— urgidas por la crisis económica de 2008—catalizaron la aparición de un gran número de cómics, de autores como Kim y Antonio Altarriba, Paco Roca y Jaime Martín, preocupados no sólo por la reescritura del pasado sino también por la revisitación de unos gestos de sufrimiento reactivados, en ocasiones, por los desahucios y la pobreza suscitada por la crisis. A partir de una metodología basada tanto en la iconología gestual de Aby Warburg como en el estudio de los dispositivos de representación histórica, se propone una aproximación hermenéutica en función de tres coordenadas fundamentales: 1) la transmisión de las fórmulas gestuales o pathos de la Guerra Civil y la dictadura en el cómic; 2) la disposición del lenguaje secuencial del cómic para trabajar sobre memorias que no disponen de documentos visuales y su capacidad para dar una nueva forma a la figura del testigo, y 3) la figuración de los cuerpos muertos, heridos y no identificados provocados por la guerra.
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Pub Date : 2020-07-02DOI: 10.1080/24741604.2020.1825135
Ana Merino
Abstract Los jóvenes autores españoles que vivieron la Transición, fueron conscientes de la fuerza que tenía su mirada creativa y de que estaban en un período de transformación y cambio del género. Este ensayo recorrerá los trabajos y vivencias de autores como Max, Gallardo y Nazario que presenciaron la Transición con una mirada consciente de lo que significaba el nuevo espacio de libertad que estrenaban. Por un lado, digerían la fuerza de las estéticas internacionales que se filtraban y ya daban paso a posicionamientos adultos contraculturales. A ellos les tocó aprender a modular sus propias voces adultas y reconocer la realidad circundante de un nuevo país en formación. Los discursos políticos impregnaron un presente que ellos articularon con nuevas propuestas narrativas donde el cómic generó algunos de los diálogos más interesantes y subversivos de la historia de la cultura contemporánea española. Gracias al cómic y su capacidad para entender lo que significó la Transición, se abordaron desde mediados de los setenta y comienzos de los ochenta temas claves como la memoria, la identidad sexual, el ecologismo, o la libertad de expresión. De pronto un espacio cultural que se asumía como infantil, ofrecía y sumaba nuevas pautas vitales que redefinían la España futura.
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Pub Date : 2020-07-02DOI: 10.1080/24741604.2020.1825160
Jonathan Snyder
Abstract This article traces a brief history of zine literature produced by gay and lesbian activist circles in Spain from the late Francoist years to present, paying specific attention to the publications by the queer Madrid-based groups La Radical Gai and Lesbianas Sin Duda (LSD) in the 1990s. Self-published graphic content is analysed alongside the collective process to produce this literature in an effort to question the ways in which these publications articulate and enact the activist values of the social group in the practice of fanzine creation itself. This article proposes that the collective creation of zine literature in queer activist collectives has operated as both a mode of and means for sustaining oppositional mobilization.
摘要本文追溯了从法语国家晚期到现在西班牙同性恋活动家圈子制作的杂志文学的简史，特别关注了20世纪90年代马德里酷儿团体La Radical Gai和Lesbianas Sin Duda（LSD）的出版物。在创作这篇文献的集体过程中，对自出版的图片内容进行了分析，试图质疑这些出版物在粉丝杂志创作实践中阐明和体现社会群体积极价值观的方式。本文认为，酷儿活动家集体中的杂志文学集体创作既是一种维持对立动员的模式，也是一种手段。
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