Bulletin of Spanish Visual Studies最新文献

英文中文

‘Fellow Travellers’ in Spanish Visual Print Cultures of the Transition: The Case of Trocha. Cuadernos Mensuales del Colectivo de la Historieta (1977–1978) = =地理= =根据美国人口普查，这个县的面积为。漫画集体月刊(1977 - 1978)

Q4 Arts and Humanities

Bulletin of Spanish Visual Studies

Pub Date : 2020-07-02 DOI: 10.1080/24741604.2020.1825134

Antonio Lázaro-Reboll

Abstract This article focuses on the self-managed publication TROCHA. Cuadernos Mensuales del Colectivo de la Historieta, the work of a collective of twenty-six comics professionals who came together to give voice and visibility to the profession and to propagate a type of comic that was adult, responsible and critical. Through an examination of the publication’s history, its members and its contents, the article maps the networks and creative alliances coalescing around TROCHA in order to trace the interconnectedness of the collective with contemporaneous visual print media. It also examines the ways in which contributors to TROCHA, aligned to left-wing ideologies, engaged with the ‘here and now’ of the Spanish Transition to Democracy in a critical—albeit ephemeral—form. The individual case study serves to explore broader zones of production encouraged by collective experience and by shared cultural practices, with a view to shedding light upon a visual culture of the Left.

摘要本文聚焦于自主管理的出版物TROCHA。Cuadernos Mensuales del Colectivo de la Historiata，这是一个由二十六名漫画专业人士组成的集体的作品，他们聚集在一起，为这一职业发声和知名度，并传播一种成人、负责任和批判性的漫画。通过对该出版物的历史、成员及其内容的审查，文章描绘了围绕TROCHA的网络和创意联盟，以追踪集体与同时代视觉印刷媒体的相互联系。它还考察了TROCHA的贡献者与左翼意识形态结盟，以批判的——尽管是短暂的——形式参与西班牙向民主过渡的“此时此地”的方式。个案研究有助于探索受集体经验和共同文化实践鼓励的更广泛的生产区，以期揭示左派的视觉文化。

引用次数: 0

Annual Index, Volume IV (2020) 年度指数，第四卷（2020）

Q4 Arts and Humanities

Bulletin of Spanish Visual Studies

Pub Date : 2020-07-02 DOI: 10.1080/24741604.2020.1827554

引用次数: 0

(Re)negotiating Freedom of Expression in the Spanish Transition: The Case of El Papus (1973–1987) (再)西班牙转型时期的言论自由谈判:以El Papus为例(1973-1987)

Q4 Arts and Humanities

Bulletin of Spanish Visual Studies

Pub Date : 2020-07-02 DOI: 10.1080/24741604.2020.1825126

María Iranzo Cabrera, Rhiannon McGlade

Abstract Juxtaposing documents from judicial and administrative archives with material published in the satirical magazine El Papus (1973–1987), this essay examines the confrontation between national-Catholic discourse and new modes of visual and textual expression in late Francoism and the early years of the democratic transition in Spain. The present study represents a survey of some 44 state-produced documents and 124 journalistic pieces, applying a two-pronged methodology rooted in discourse analysis with a special focus on the content and themes deemed unfit for publication in the pages of El Papus. The results will show that a loosening of erotic and sexual mores, particularly those related to Spanish women—who were quickly emerging as political subjects in the 1970s—became the magazine’s preferred tool for interrogating the repressive structures underpinning Francoist society. As the administration and the judiciary grappled with the evolution of social norms before and during the Transition, they sought to decelerate the shifts taking place by publicly accusing editors and contributors of profanity, indecency, and/or immorality in court documents from the period. As argued here, El Papus played a decisive role in the interrogation of Francoist family values throughout the 1970s: (re)negotiating practices related to the freedom of expression in countercultural media produced in Spain.

摘要本文将司法和行政档案中的文件与讽刺杂志《El Papus》（1973–1987）上发表的材料并置，探讨了法国主义晚期和西班牙民主转型初期，国家天主教话语与新的视觉和文本表达模式之间的对抗。本研究对大约44份国家制作的文件和124篇新闻文章进行了调查，采用了植根于话语分析的双管齐下的方法，特别关注被认为不适合在《El Papus》页面上发表的内容和主题。研究结果将表明，放松色情和性道德，特别是那些与西班牙女性有关的道德——她们在20世纪70年代迅速成为政治主题——成为该杂志审问支撑法语社会的镇压结构的首选工具。在过渡之前和过渡期间，行政部门和司法部门努力应对社会规范的演变，他们试图通过公开指责编辑和撰稿人在这一时期的法庭文件中亵渎、猥亵和/或不道德来减缓这种转变。正如这里所说，El Papus在整个20世纪70年代对法语家庭价值观的质疑中发挥了决定性作用：（重新）谈判西班牙反文化媒体中与言论自由有关的做法。

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引用次数: 0

Reconciling Myth with Photographic Histories in Leandro Katz’s El día que me quieras 在Leandro Katz的El día que me quieras中调和神话与摄影历史

Q4 Arts and Humanities

Bulletin of Spanish Visual Studies

Pub Date : 2020-05-27 DOI: 10.1080/24741604.2020.1766261

David Rojinsky

That is why an image, an allegory, a figure that masks what it would reveal has more significance for the spirit than the lucidities of speech and its analytics.1 Who said that time heals all wound...

这就是为什么一个图像、一个寓言、一个掩盖了它所揭示的东西的人物，对精神的意义比语言及其分析的清晰性更大。。。

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Eugenio Cajés, entre la formación italiana en España, Vicente Carducho y la escuela madrileña: relaciones e intercambios* Eugenio Cajes，在西班牙的意大利培训、Vicente Carducho和马德里学校之间：关系和交流*

Q4 Arts and Humanities

Bulletin of Spanish Visual Studies

Pub Date : 2020-01-02 DOI: 10.1080/24741604.2020.1736831

Álvaro Pascual Chenel

Se presentan algunas novedades sobre dibujos y pinturas inéditas de Eugenio Cajés, uno de los pintores españoles más importantes de la escuela madrileña de la primera mitad del siglo XVII, junto a su compañero y amigo Vicente Carducho.

介绍了17世纪上半叶马德里学校最重要的西班牙画家之一尤金尼奥·卡耶斯与他的同学兼朋友维森特·卡杜乔的一些未出版的绘画和绘画的新发展。

引用次数: 1

Ispansi: evocaciones (re)imaginadas de una memoria histórica exiliada Ispansi:流放历史记忆的(重新)想象唤起

Q4 Arts and Humanities

Bulletin of Spanish Visual Studies

Pub Date : 2020-01-02 DOI: 10.1080/24741604.2020.1745430

Dionisio Viscarri

Resumen En los primeros tres lustros del siglo XXI, se ha revitalizado la difusión de obras literarias y cinematográficas dedicadas a escudriñar el periodo franquista y su entorno para reacomodar, armonizar y/o integrar perspectivas multilaterales. Desde presupuestos estéticos, proponen encauzar una reconciliación recordatoria pluralista y comprensiva. Cuestión fundamental en este reenfoque interpretativo es el exilio republicano y sus diversas vicisitudes en el conflicto mundial. A través de una lectura multifacética del largometraje de Carlos Iglesias, Ispansi, este artículo examina la relación entre representación histórica, discurso fílmico y memoria individual y colectiva. Pone acento, sobre todo, en el engranaje y mecanismos empleados en la obra para ofrecer un discurso histórico alternativo, más acorde con el panorama cultural español vigente.

摘要在21世纪的前三个世纪，致力于审查佛朗哥时期及其环境以重新安排、协调和/或整合多边观点的文学和电影作品的传播得到了振兴。从美学预算来看，他们建议引导多元化和全面的提醒和解。这一解释性重新融合的基本问题是共和党的流亡及其在全球冲突中的各种沧桑。通过对卡洛斯·伊格莱西亚斯（Carlos Iglesias）的故事片《伊斯潘西》（Ispansi）的多方面阅读，本文探讨了历史再现、电影话语与个人和集体记忆之间的关系。最重要的是，它强调了作品中使用的设备和机制，以提供更符合当前西班牙文化全景的替代历史话语。

引用次数: 0

Staging the Spanish Civil War: History and Re-enactment in Joris Ivens’ The Spanish Earth (1937) 上演西班牙内战:乔里斯·伊文斯《西班牙大地》(1937)中的历史与再现

Q4 Arts and Humanities

Bulletin of Spanish Visual Studies

Pub Date : 2020-01-02 DOI: 10.1080/24741604.2020.1684716

Eduardo Ledesma

Abstract This article studies how Joris Ivens deployed re-enactment in his Spanish Civil War documentary, The Spanish Earth (1937), relating it to the use of re-enactment by the historian R. G. Collingwood. By examining the historical context and analysing the film and texts by Ivens and Collingwood, I argue that re-enactment is in tension with the ethical responsibilities of documentary vis-à-vis criteria of authenticity. With re-enactment, Ivens inserts fictive elements into documentary even as he remains loyal to a certain ‘truth’ about the war, forging a style that is based on political documentary but which blurs the frontier between performativity and reality.

本文研究了乔里斯·伊文斯在他的西班牙内战纪录片《西班牙大地》(1937)中是如何运用重演的，并将其与历史学家r·g·科林伍德对重演的使用联系起来。通过考察历史背景，分析艾文斯和科林伍德的电影和文本，我认为重演与纪录片的伦理责任在-à-vis真实性标准中是紧张的。通过重演，伊文斯在忠于战争的某种“真相”的同时，也在纪录片中加入了虚构的元素，打造了一种以政治纪录片为基础，但模糊了表演与现实之间界限的风格。

引用次数: 0

Eli Neira: Pursuing Community and Interconnectedness against the Commodification and Institutionalization of Culture in Chile* Eli Neira:智利文化商品化与制度化:追求共同体与互联性*

Q4 Arts and Humanities

Bulletin of Spanish Visual Studies

Pub Date : 2020-01-02 DOI: 10.1080/24741604.2020.1726066

S. Bowskill, J. Lavery

Abstract Eli Neira (b. 1973) is a Chilean poet, artist, performer and blogger who resists traditional infrastructures of cultural production. The works studied in this article (an open letter to FONDART, ‘Big Money’, ‘Soy Terrorista: Anti Postal 6, al Mapuche en huelga de hambre,’ ‘Inmaculado Corazón’ and ‘Limpieza colectiva como obra de arte’) address the issues of consumerism and art, the environment, and religion and sexuality but they are united by an overarching project which challenges the commodification and institutionalization of culture by seeking out new outlets and audiences. In so doing, Neira seeks to occupy what she terms ‘zonas intersticiales’ (in-between spaces) or a ‘zona peligrosa’ (danger zone). This terminology, however, alerts, us to the inevitable contradictions in her practice as she resists, but is inevitably part of, the cultural field which she critiques. Neira’s work, therefore, is significant because it helps us to understand resistance as relational and not as something that is ‘outside’ or disengaged from that which it resists. Whilst her work alerts us to the limits of resistance, so too does it suggest more inclusive artistic practices which prioritize a sense of interconnectedness and community.

Eli Neira（生于1973年）是一位智利诗人、艺术家、表演者和博客作者，他抵制传统的文化生产基础设施。本文研究的作品（致FONDART的一封公开信，《大金钱》，《大豆恐怖分子：反邮政6》，《El Mapuche en huelga de hambre》，《Inmaculado Corazón》和《Limpieza colectiva como obra de arte》）解决了消费主义和艺术、环境、，以及宗教和性，但它们被一个总体项目所团结，该项目通过寻找新的渠道和受众来挑战文化的商品化和制度化。在这样做的过程中，Neira试图占据她所说的“间隙地带”（在空间之间）或“peligrosa地带”（危险地带）。然而，这个术语提醒我们，在她的实践中不可避免的矛盾，因为她抵制，但不可避免地是她所批评的文化领域的一部分。因此，奈拉的工作意义重大，因为它帮助我们将抵抗理解为关系性的，而不是“外部”的或脱离它所抵抗的东西。虽然她的作品提醒我们抵抗的极限，但它也暗示了更具包容性的艺术实践，优先考虑相互联系和社区感。

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引用次数: 0

Reviews of Books 书评

Q4 Arts and Humanities

Bulletin of Spanish Visual Studies

Pub Date : 2020-01-02 DOI: 10.1080/24741604.2020.1706975

Julián Daniel Gutiérrez‐Albilla, L. Duno-Gottberg, M. Farrelly, Walescka Pino-Ojeda, Clara Guillén Marín, A. Elduque, D. Mourenza, Santiago Lomas Martínez, S. Fouz-Hernández, Jeremy M. N. Roe, J. Tomlinson, M. Basilio, Carlos Ferrer Barrera, P. Pepe, Nathan J. Timpano

Santiago Fouz-Hernández’s edited collection on Spanish erotic cinema is a timely and ground-breaking contribution to the field of Spanish film studies in particular, and Film Studies in general, through its coverage of the ‘erotic content in Spanish cinema from the silent period until today’ (1). In effect, as the Introduction to this volume underscores, although the erotic has been the focus of much academic writing on Spanish cinema, this edited collection is unique in its focus on what may be defined as ‘Spanish erotic cinema’, thereby using the erotic as an enabling analytical category that remains connected to wider issues, including ‘age, class, gender, modernity, national identities, race[,] religion or sexualities’ (10). Such an imbrication foregrounds the complex ways and the multiple layers through which subjectivities and bodies are constructed and textured in Spanish cinema. The volume is characterized by its historical rigour and theoretical sophistication, as well as by its engagement with fascinating close readings of a wide range of Spanish films and cinematic genres across historical periods and regions. Spanish Erotic Cinema is conceived chronologically to pay attention to ‘the evolution of what we may understand as erotic in the Spanish cinema production of the last hundred years or so’ (10). Yet, this edited collection never falls into a teleological conception of history which would perpetuate an over-familiar, if not exhausted, narrative of historical progress that is based on moving from sexual repression, especially during the almost forty years of the Franco dictatorship, to sexual liberation, starting with the so-called destape films that were produced during the Spanish Transition to the cinema produced in our contemporary democratic, neo-liberal period. This reader found deeply refreshing the volume’s serious critical attention to the so-called destape films and how such academic attention coincides with a recent revival of these films in contemporary Spanish cinema. While this edited collection inevitably refers to film classification in Spain, once censorship was abolished during the Spanish political Transition from dictatorship to democracy, which designated erotic films with an ‘S’ and pornographic films with an ‘X’, the volume complicates clear-cut distinctions between the pornographic and the erotic. The latter, associated with the promise of ‘some sexually explicit content while preventing the alienation of audiences who may not yet be ready to watch porn’ (5), can function within and beyond the strictly pornographic. Or, as Roland Barthes beautifully argues in his study of photography (Camera Lucida: Reflections on Photography, trans. Richard Howard [New York: Hill and Wang, 1983]), the erotic can be displaced from the representation of the naked body to the effects of the texture of the underwear worn by the male model in the Robert Mapplethorpe photograph. Such a compelling problematization of clear-cut dich

Santiago Fouz Hernández编辑的关于西班牙色情电影的合集，通过报道“从沉默时期到今天西班牙电影中的色情内容”，对西班牙电影研究领域，尤其是对电影研究领域做出了及时而突破性的贡献（1）。实际上，正如本卷引言所强调的那样，尽管情色一直是许多关于西班牙电影的学术文章的焦点，但这本经过编辑的合集的独特之处在于，它关注的是可以被定义为“西班牙情色电影”的内容，从而将情色作为一个有利的分析类别，与更广泛的问题保持联系，包括“年龄、阶级、性别、现代性，国家身份、种族、宗教或性取向。这种叠瓦现象突出了西班牙电影中主体性和身体结构的复杂方式和多层性。该卷的特点是其历史的严谨性和理论的复杂性，以及对不同历史时期和地区的西班牙电影和电影流派的引人入胜的细读。西班牙情色电影是按时间顺序构思的，目的是关注“过去一百年左右西班牙电影制作中我们可能理解为情色的东西的演变”（10）。然而，这本经过编辑的合集从未落入一种目的论的历史观中，这种历史观会延续一种过于熟悉（如果不是穷尽的话）的历史进步叙事，这种叙事基于从性镇压，特别是在佛朗哥独裁统治的近四十年里，到性解放，从西班牙过渡时期制作的所谓的“脱俗”电影开始，到我们当代民主、新自由主义时期制作的电影。这位读者发现，这本书对所谓的去模仿电影的严肃批评关注，以及这种学术关注如何与这些电影最近在当代西班牙电影中的复兴不谋而合，令人耳目一新。虽然这本经过编辑的合集不可避免地提到了西班牙的电影分类，但在西班牙从独裁到民主的政治过渡期间，一旦审查制度被废除，色情电影被指定为“S”，色情电影则被指定为X，这本书使色情和色情之间的明确区别变得复杂。后者与“一些色情内容的承诺相关联，同时防止那些可能还没有准备好看色情片的观众疏远”（5），可以在严格意义上的色情片中发挥作用。或者，正如罗兰·巴特（Roland Barthes）在他的摄影研究中优美地指出的那样（Camera Lucida:Reflections on photography，跨性别理查德·霍华德（Richard Howard）[纽约：希尔和王（Hill and Wang），1983年]），在罗伯特·马普索普（Robert Mapplethorpe）的照片中，情色可以从裸体的表现转移到男模所穿内衣的纹理效果。本集所包含的章节中明确的二分法的这种令人信服的问题化，为西班牙电影中的电影表现和电影观众提供了多种不同的性欲经济。从这个角度来看，情色可以被电影形式的情色所取代，而不仅仅是与身体的表现联系在一起——通常是女性的身体。情色可以超越或削弱简化的偷窥和恋物癖的观看模式，通常与

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Amor hipster en la ciudad empresarial: la emergencia de la comedia romántica indie en el cine español del siglo XXI 商业城市中的潮人爱情:21世纪西班牙电影中独立浪漫喜剧的出现

Q4 Arts and Humanities

Bulletin of Spanish Visual Studies

Pub Date : 2020-01-02 DOI: 10.1080/24741604.2020.1687164

Celia Martínez-Sáez

La ciudad como telón de fondo, punto de encuentro, dicotomía modernidad/ atraso, postal turística, celestina del amor cosmopolita, o, incluso, como protagonista lleva casi un siglo desempeñando un papel crítico en el cine. Sin lugar a dudas, el estudio del espacio urbano y el cine con todas sus intersecciones ha despertado un formidable interés por parte de múltiples disciplinas. El cine español no ha sido una excepción en conectar las representaciones fílmicas con el espacio urbano. El turístico Benidorm de los sesenta con Manolo Escobar, el Madrid ochentero de Pedro Almodóvar o la claustrofóbica Barcelona de Alejandro González Iñárritu en el nuevo siglo—por poner algunos ejemplos—forman parte esencial del imaginario citadino español. Y, sin embargo, con algunas notables excepciones (Malcolm A. Compitello, Lorenzo J. Torres Hortelano y

这座城市作为背景、交汇点、现代/落后二分法、旅游明信片、塞莱斯蒂娜·德尔·阿莫尔·科莫利托，甚至作为主角，在电影中发挥了近一个世纪的关键作用。毫无疑问，对城市空间和电影及其所有交叉点的研究引起了多个学科的极大兴趣。西班牙电影也不例外，将电影表演与城市空间联系起来。60年代与马诺洛·埃斯科瓦尔在一起的贝尼多姆游客、佩德罗·阿尔莫多瓦在80年代的马德里或亚历杭德罗·冈萨雷斯·伊纳里图在新世纪的幽闭恐惧症巴塞罗那--举几个例子--是西班牙城市想象的重要组成部分。Y、然而，除了一些明显的例外（马尔科姆A.Competillo、洛伦佐J.Torres Hortelano和

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