Review of: The Making and Unmaking of Francoist Kitsch Cinema: From Raza to Pan’s Labyrinth, Alejandro Yarza (2018) Edinburgh: Edinburgh University Press, 322 pp., ISBN 978-0-74869-924-7, h/bk, £63.88 ISBN 978-1-47443-185-9, p/bk, £22.48
{"title":"The Making and Unmaking of Francoist Kitsch Cinema: From Raza to Pan’s Labyrinth, Alejandro Yarza (2018)","authors":"A. Davies","doi":"10.1386/slac_00054_5","DOIUrl":"https://doi.org/10.1386/slac_00054_5","url":null,"abstract":"Review of: The Making and Unmaking of Francoist Kitsch Cinema: From Raza to Pan’s Labyrinth, Alejandro Yarza (2018)\u0000Edinburgh: Edinburgh University Press, 322 pp.,\u0000ISBN 978-0-74869-924-7, h/bk, £63.88\u0000ISBN 978-1-47443-185-9, p/bk, £22.48","PeriodicalId":40780,"journal":{"name":"Studies in Spanish & Latin American Cinemas","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49070460","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}
Looking specifically towards child figures who serve as witnesses of death and its afterlives, this article mobilizes Esther Rashkin’s psychoanalytic work on the phantom to analyse the inheritance of silence as trauma between the mother/daughter pairings presented in Carlos Saura’s Cría cuervos/Raise Ravens (1976) and Pedro Almodóvar’s Julieta (2016). As Ana in Cría cuervos and Antía in Julieta both grow up in the shadow of a parent’s death, they are forced to confront the haunting legacy of premature death and the paralysing presence of silence in their family histories. Saura’s Ana and Almodóvar’s Antía must challenge the previous generation’s secrets, which have shaped their upbringings, through the use of imagination and fantasy in order to combat the silences they were raised in, with the ultimate goal of constructing a new family narrative. By forging a new female voice through these child protagonists, Saura and Almodóvar present an enduring intergenerational project for redefining maternity and femininity in the post-Franco era.
{"title":"The inheritance of silence in Cría cuervos/Raise Ravens (Saura 1976) and Julieta (Almodóvar 2016)","authors":"Mai Hunt","doi":"10.1386/slac_00045_1","DOIUrl":"https://doi.org/10.1386/slac_00045_1","url":null,"abstract":"Looking specifically towards child figures who serve as witnesses of death and its afterlives, this article mobilizes Esther Rashkin’s psychoanalytic work on the phantom to analyse the inheritance of silence as trauma between the mother/daughter pairings presented in Carlos Saura’s Cría cuervos/Raise Ravens (1976) and Pedro Almodóvar’s Julieta (2016). As Ana in Cría cuervos and Antía in Julieta both grow up in the shadow of a parent’s death, they are forced to confront the haunting legacy of premature death and the paralysing presence of silence in their family histories. Saura’s Ana and Almodóvar’s Antía must challenge the previous generation’s secrets, which have shaped their upbringings, through the use of imagination and fantasy in order to combat the silences they were raised in, with the ultimate goal of constructing a new family narrative. By forging a new female voice through these child protagonists, Saura and Almodóvar present an enduring intergenerational project for redefining maternity and femininity in the post-Franco era.","PeriodicalId":40780,"journal":{"name":"Studies in Spanish & Latin American Cinemas","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45059713","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}
This article studies the archetypes and the iconography in contemporary Mexican films that deal with drug trafficking in order to examine the evolution of the narco cinema subgenre and changes in the representation of the narcocultura. The corpus is constituted by the biggest box office hits each year between 2010 and 2017, which are analysed thematically. This study suggests that the characteristics of the narcocultura continue circulating within Mexican cinema, but it does not point to a subgenre’s existence. The genres circumscribing the films analysed promote the narcos’ heroism via archetypes and iconography, which symbolize how narcos overcome their modus vivendi to stand as a legitimate authority against a corrupt government. Alongside this representation of narcos, these films also present objectified women and promote values such as loyalty and family. The aforementioned archetypes and iconography offer a view of life in which violence is normalized, and crime is seen as a legitimate lifestyle.
{"title":"El narcotráfico en el cine mexicano: arquetipos desde 2010 a 2017","authors":"Elba Díaz-Cerveró, Gabriel Domínguez-Partida","doi":"10.1386/slac_00047_1","DOIUrl":"https://doi.org/10.1386/slac_00047_1","url":null,"abstract":"This article studies the archetypes and the iconography in contemporary Mexican films that deal with drug trafficking in order to examine the evolution of the narco cinema subgenre and changes in the representation of the narcocultura. The corpus is constituted by the biggest box office hits each year between 2010 and 2017, which are analysed thematically. This study suggests that the characteristics of the narcocultura continue circulating within Mexican cinema, but it does not point to a subgenre’s existence. The genres circumscribing the films analysed promote the narcos’ heroism via archetypes and iconography, which symbolize how narcos overcome their modus vivendi to stand as a legitimate authority against a corrupt government. Alongside this representation of narcos, these films also present objectified women and promote values such as loyalty and family. The aforementioned archetypes and iconography offer a view of life in which violence is normalized, and crime is seen as a legitimate lifestyle.","PeriodicalId":40780,"journal":{"name":"Studies in Spanish & Latin American Cinemas","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44008894","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}
This article analyses the representation of the 1970s countercultural movement in Alfredo Joskowicz’s film El cambio/The Change ([1971] 1975). It shows how the film portrays its protagonists as part of the Mexican countercultural movement, even as it adopts a critical view of that movement. Not only are the protagonists unsuccessful with their single action of protest, they are also engaged in problematic relationships with female and Indigenous characters. The ambivalence towards counterculture in El cambio is similar to the portrayal of leftist protest movements in other films by the same director. This article expands on the recognized relationship between this film and the director’s oeuvre. It demonstrates that the problematic portrayal of relationships between the protagonists and Indigenous and female characters relates to its historical context and other films from the time period. In particular, it shows that these interactions correspond with some of the ways that the Mexican state and the countercultural movement adopted paternalistic views of Indigenous people and replicated patriarchal relationships between men and women.
本文分析了阿尔弗雷多·乔斯科维茨(Alfredo Joskowicz)的电影《变化》(El cambio/ the Change，[1971] 1975)对20世纪70年代反主流文化运动的表现。它显示了电影如何将主角描绘成墨西哥反文化运动的一部分，尽管它对该运动采取了批判的观点。主角们的抗议行动不仅没有成功，而且他们与女性和土著人物的关系也有问题。《坎比奥》中对反主流文化的矛盾心理，与同一导演在其他电影中对左翼抗议运动的描绘相似。这篇文章详述了这部电影与导演作品之间公认的关系。它表明，主角与土著和女性角色之间关系的刻画存在问题，这与它的历史背景和同一时期的其他电影有关。特别是，它表明，这些相互作用与墨西哥政府和反文化运动采用土著人民的家长式观点和复制男女之间的父权关系的某些方式相对应。
{"title":"El cambio/The Change Joskowicz ([1971] 1975): Mexican counterculture and the futility of protest in the 1970s","authors":"R. Janzen","doi":"10.1386/slac_00044_1","DOIUrl":"https://doi.org/10.1386/slac_00044_1","url":null,"abstract":"This article analyses the representation of the 1970s countercultural movement in Alfredo Joskowicz’s film El cambio/The Change ([1971] 1975). It shows how the film portrays its protagonists as part of the Mexican countercultural movement, even as it adopts a critical view of that movement. Not only are the protagonists unsuccessful with their single action of protest, they are also engaged in problematic relationships with female and Indigenous characters. The ambivalence towards counterculture in El cambio is similar to the portrayal of leftist protest movements in other films by the same director. This article expands on the recognized relationship between this film and the director’s oeuvre. It demonstrates that the problematic portrayal of relationships between the protagonists and Indigenous and female characters relates to its historical context and other films from the time period. In particular, it shows that these interactions correspond with some of the ways that the Mexican state and the countercultural movement adopted paternalistic views of Indigenous people and replicated patriarchal relationships between men and women.","PeriodicalId":40780,"journal":{"name":"Studies in Spanish & Latin American Cinemas","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42221390","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}
Review of: Ciudad y fantasmagoría: dimensiones de la mirada en el cine urbano de Latinoamérica del siglo XXI, Carolina Rueda (2019) Santiago: Editorial Cuarto Propio, 392 pp., ISBN 978-956-396-046-4, p/bk, Chilean pesos 15.00
{"title":"Ciudad y fantasmagoría: dimensiones de la mirada en el cine urbano de Latinoamérica del siglo XXI, Carolina Rueda (2019)","authors":"A. Holmes","doi":"10.1386/slac_00049_5","DOIUrl":"https://doi.org/10.1386/slac_00049_5","url":null,"abstract":"Review of: Ciudad y fantasmagoría: dimensiones de la mirada en el cine urbano de Latinoamérica del siglo XXI, Carolina Rueda (2019)\u0000Santiago: Editorial Cuarto Propio, 392 pp.,\u0000ISBN 978-956-396-046-4, p/bk, Chilean pesos 15.00","PeriodicalId":40780,"journal":{"name":"Studies in Spanish & Latin American Cinemas","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45388619","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}
The article explores the decline of Criollista cinema during early Peronism, based on the study of Mario Soffici’s 1945 film La cabalgata del circo/Circus Cavalcade and the political circumstances around it, including Eva Duarte’s performance, the violent incidents during the premiere and the role of the censorship. The central hypothesis is that the film inaugurates a kind of symbolic relay: Peronism appropriates nineteenth-century emblems such as the gaucho myth or the romantic woman, and incorporates them into the emerging Peronist myth. This gives the Criollista cinema of the time the tone of a retreating criollismo, which is articulated as a second degree nostalgia: if criollismo was always marked by nostalgia for a pre-modern golden age, La cabalgata del circo reveals a nostalgia for that nostalgia, given that it is not only a Criollista story but also a history of criollismo. The research is based on the analysis of the film, its links with the historical-political context and the way it adapts the Criollista novel Juan Cuello, written by Eduardo Gutiérrez in 1880.
本文通过对马里奥·索菲奇1945年的电影《马戏团》（La cabalgata del circo/Circus Cavalcade）及其周围的政治环境的研究，包括伊娃·杜阿尔特的表演、首映期间的暴力事件和审查制度的作用，探讨了庇隆主义早期克里奥利斯塔电影的衰落。中心假设是，这部电影开启了一种象征性的接力：庇隆主义借用了19世纪的标志，如高乔神话或浪漫女性，并将其融入了新兴的庇隆主义神话中。这给当时的克里奥利斯塔电影带来了一种倒退的克里奥利斯莫的基调，这被表达为一种二度怀旧：如果克里奥利斯莫总是以对前现代黄金时代的怀旧为标志，那么《马戏团》揭示了对这种怀旧的怀旧，因为它不仅是克里奥利斯塔的故事，也是克里奥利斯穆的历史。这项研究基于对这部电影的分析，它与历史政治背景的联系，以及它改编克里奥利斯塔1880年爱德华多·古铁雷斯的小说《胡安·库埃洛》的方式。
{"title":"Del mito gaucho al mito peronista: la decadencia del cine criollista en La cabalgata del circo (Soffici 1945)","authors":"Nicolás Suárez","doi":"10.1386/slac_00042_1","DOIUrl":"https://doi.org/10.1386/slac_00042_1","url":null,"abstract":"The article explores the decline of Criollista cinema during early Peronism, based on the study of Mario Soffici’s 1945 film La cabalgata del circo/Circus Cavalcade and the political circumstances around it, including Eva Duarte’s performance, the violent incidents during the premiere and the role of the censorship. The central hypothesis is that the film inaugurates a kind of symbolic relay: Peronism appropriates nineteenth-century emblems such as the gaucho myth or the romantic woman, and incorporates them into the emerging Peronist myth. This gives the Criollista cinema of the time the tone of a retreating criollismo, which is articulated as a second degree nostalgia: if criollismo was always marked by nostalgia for a pre-modern golden age, La cabalgata del circo reveals a nostalgia for that nostalgia, given that it is not only a Criollista story but also a history of criollismo. The research is based on the analysis of the film, its links with the historical-political context and the way it adapts the Criollista novel Juan Cuello, written by Eduardo Gutiérrez in 1880.","PeriodicalId":40780,"journal":{"name":"Studies in Spanish & Latin American Cinemas","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47512632","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}
Review of: Cinema against Doublethink: Ethical Encounters with the Lost Pasts of World History, David Martin-Jones (2019) London and New York: Routledge, 258 pp., ISBN 978-1-13890-795-9, pbk, £27.99
{"title":"Cinema against Doublethink: Ethical Encounters with the Lost Pasts of World History, David Martin-Jones (2019)","authors":"L. Freijo","doi":"10.1386/slac_00052_5","DOIUrl":"https://doi.org/10.1386/slac_00052_5","url":null,"abstract":"Review of: Cinema against Doublethink: Ethical Encounters with the Lost Pasts of World History, David Martin-Jones (2019)\u0000London and New York: Routledge, 258 pp.,\u0000ISBN 978-1-13890-795-9, pbk, £27.99","PeriodicalId":40780,"journal":{"name":"Studies in Spanish & Latin American Cinemas","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45997268","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}
This article analyses the film Corazón cubano/Cuban Heart (Liyuen Valdés 2014), a story about drug traffickers in the Jesús María neighbourhood of Havana, circulated only through the Paquete Semanal (Weekly Package). Examining the creators’ symbolic identification with the figure of the narco, this article explores Corazón as an example of amateur, alternative and informal media within the Paquete and its relationship with exploitation, cult and trash cinema. It argues that Corazón’s appropriation of narconarratives through reparteros (the inhabitants of Havana’s peripheric and poorest neighbourhoods) is linked to the relationship between reparteros, rap and reggaeton and points to the filmmakers’ will to combine social criticism and entertainment. Corazón also reproduces controversial practices and discourses like ‘necroempowerment’ (Valencia) or ‘fascinating violence’ (Valencia and Sepúlveda), developing dystopian empowerment by appropriating the narco as a ‘cultural persona’ (Edberg).
{"title":"Narcos in Jesús María: Dystopian empowerment in the amateur exploitation film Corazón cubano/Cuban Heart (2014)","authors":"Walfrido Dorta","doi":"10.1386/slac_00043_1","DOIUrl":"https://doi.org/10.1386/slac_00043_1","url":null,"abstract":"This article analyses the film Corazón cubano/Cuban Heart (Liyuen Valdés 2014), a story about drug traffickers in the Jesús María neighbourhood of Havana, circulated only through the Paquete Semanal (Weekly Package). Examining the creators’ symbolic identification with the figure of the narco, this article explores Corazón as an example of amateur, alternative and informal media within the Paquete and its relationship with exploitation, cult and trash cinema. It argues that Corazón’s appropriation of narconarratives through reparteros (the inhabitants of Havana’s peripheric and poorest neighbourhoods) is linked to the relationship between reparteros, rap and reggaeton and points to the filmmakers’ will to combine social criticism and entertainment. Corazón also reproduces controversial practices and discourses like ‘necroempowerment’ (Valencia) or ‘fascinating violence’ (Valencia and Sepúlveda), developing dystopian empowerment by appropriating the narco as a ‘cultural persona’ (Edberg).","PeriodicalId":40780,"journal":{"name":"Studies in Spanish & Latin American Cinemas","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47912731","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}
Review of: The Spanish Quinqui Film: Delinquency, Sound, Sensation, Tom Whittaker (2020) Manchester: Manchester University Press, 248 pp., ISBN 978-1-52613-177-5, h/bk, £80.00
{"title":"The Spanish Quinqui Film: Delinquency, Sound, Sensation, Tom Whittaker (2020)","authors":"Susan Larson","doi":"10.1386/slac_00051_5","DOIUrl":"https://doi.org/10.1386/slac_00051_5","url":null,"abstract":"Review of: The Spanish Quinqui Film: Delinquency, Sound, Sensation, Tom Whittaker (2020)\u0000Manchester: Manchester University Press, 248 pp.,\u0000ISBN 978-1-52613-177-5, h/bk, £80.00","PeriodicalId":40780,"journal":{"name":"Studies in Spanish & Latin American Cinemas","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47071918","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}
Review of: Disability in Spanish-speaking and U.S. Chicano Contexts: Critical and Artistic Perspectives, Dawn Slack and Karen L. Rauch (eds) (2019) Newcastle: Cambridge Scholars Publishing, 224 pp., ISBN 978-1-52752-750-8, h/bk, £61.99
{"title":"Disability in Spanish-speaking and U.S. Chicano Contexts: Critical and Artistic Perspectives, Dawn Slack and Karen L. Rauch (eds) (2019)","authors":"Raquel Medina","doi":"10.1386/slac_00048_5","DOIUrl":"https://doi.org/10.1386/slac_00048_5","url":null,"abstract":"Review of: Disability in Spanish-speaking and U.S. Chicano Contexts: Critical and Artistic Perspectives, Dawn Slack and Karen L. Rauch (eds) (2019)\u0000Newcastle: Cambridge Scholars Publishing, 224 pp.,\u0000ISBN 978-1-52752-750-8, h/bk, £61.99","PeriodicalId":40780,"journal":{"name":"Studies in Spanish & Latin American Cinemas","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45624595","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：