This article studies the mobility of human voices in Basilio Martín Patino’s series of television films about Andalusia. It explores the voice as an object of cinematic representation and as a focal point of affective investments in a transnational context of postcolonial and neo-colonial power struggles. Furthermore, it scrutinizes a selection of voices that speak and sing throughout the series and considers the location of these voices across the soundtrack of Patino’s films. Through its mobile vocal aesthetic, Patino’s film series gestures towards an ethics of representation in which flamenco becomes a wandering signifier that can only be envisioned in the plural, through a myriad set of accented voices and memories.
{"title":"Mobile voices, flamenco and ethics of representation in Andalucía, un siglo de fascinación/Andalusia, A Century of Fascination (1996)","authors":"C. V. Tongeren","doi":"10.1386/slac_00013_1","DOIUrl":"https://doi.org/10.1386/slac_00013_1","url":null,"abstract":"This article studies the mobility of human voices in Basilio Martín Patino’s series of television films about Andalusia. It explores the voice as an object of cinematic representation and as a focal point of affective investments in a transnational context of postcolonial\u0000 and neo-colonial power struggles. Furthermore, it scrutinizes a selection of voices that speak and sing throughout the series and considers the location of these voices across the soundtrack of Patino’s films. Through its mobile vocal aesthetic, Patino’s film series gestures towards\u0000 an ethics of representation in which flamenco becomes a wandering signifier that can only be envisioned in the plural, through a myriad set of accented voices and memories.","PeriodicalId":40780,"journal":{"name":"Studies in Spanish & Latin American Cinemas","volume":"29 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83802709","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 provides an overview of the archival materials held at the Permanencia Voluntaria collection in Tepoztlán, Mexico. Focusing on the documents of the production company Cinematográfica Calderón, in operation from the late 1930s to the 1990s, the article makes a case for using such material to construct critical industrial histories of Mexican cinema. Drawing on concepts from media industry studies, the article examines three intertwined aspects of the production company’s operations during the 1950s and 1960s: marketing, censorship negotiations and transnational distribution. Accordingly, it proposes that these factors be placed in conversation with cinematic texts as a way of reconsidering the place of the nation in Mexican film studies, expanding the objects of analysis in this field and re-evaluating a period of film history whose significance has largely remained overlooked.
{"title":"The Permanencia Voluntaria archive and the historical study of Mexican cinema","authors":"Colin Gunckel","doi":"10.1386/slac_00005_1","DOIUrl":"https://doi.org/10.1386/slac_00005_1","url":null,"abstract":"This article provides an overview of the archival materials held at the Permanencia Voluntaria collection in Tepoztlán, Mexico. Focusing on the documents of the production company Cinematográfica Calderón, in operation from the late 1930s to the 1990s, the article\u0000 makes a case for using such material to construct critical industrial histories of Mexican cinema. Drawing on concepts from media industry studies, the article examines three intertwined aspects of the production company’s operations during the 1950s and 1960s: marketing, censorship\u0000 negotiations and transnational distribution. Accordingly, it proposes that these factors be placed in conversation with cinematic texts as a way of reconsidering the place of the nation in Mexican film studies, expanding the objects of analysis in this field and re-evaluating a period of film\u0000 history whose significance has largely remained overlooked.","PeriodicalId":40780,"journal":{"name":"Studies in Spanish & Latin American Cinemas","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73371706","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}
Este artículo estudia el trabajo de John Alton en Puerta cerrada (Saslavsky, 1939). En la última interpretación musical de la película, Alton fotografía a Libertad Lamarque en plena oscuridad, logrando una impactante escena donde anticipa el estilo de iluminación que desarrolló en los film noirs realizados en Hollywood tiempo después. Partiendo de esta escena, analizaré el diálogo que se produce entre el peculiar estilo fotográfico de Alton, el uso del melodrama que hace Saslavsky, y la performance de Lamarque.This article studies the work of John Alton in Puerta cerrada (Saslavsky, 1939). In the film’s last musical performance, Alton photographs Libertad Lamarque in deep darkness, achieving a dazzling scene that foreshadows the lighting style he later developed in Holywood film noirs made. Starting with this scene, the article analyses the dialogue generated by Alton’s peculiar photographic style, Saslavsky’s use of melodrama and Lamarque’s performance.
{"title":"‘Las sombras llaman a mi puerta’: John Alton y el melodrama en Puerta cerrada (1939)","authors":"Iván Morales","doi":"10.1386/slac_00001_1","DOIUrl":"https://doi.org/10.1386/slac_00001_1","url":null,"abstract":"Este artículo estudia el trabajo de John Alton en Puerta cerrada (Saslavsky, 1939). En la última interpretación musical de la película, Alton fotografía a Libertad Lamarque en plena oscuridad, logrando una impactante escena donde anticipa el estilo\u0000 de iluminación que desarrolló en los film noirs realizados en Hollywood tiempo después. Partiendo de esta escena, analizaré el diálogo que se produce entre el peculiar estilo fotográfico de Alton, el uso del melodrama que hace Saslavsky, y la performance\u0000 de Lamarque.This article studies the work of John Alton in Puerta cerrada (Saslavsky, 1939). In the film’s last musical performance, Alton photographs Libertad Lamarque in deep darkness, achieving a dazzling scene that foreshadows the lighting style he later developed in Holywood\u0000 film noirs made. Starting with this scene, the article analyses the dialogue generated by Alton’s peculiar photographic style, Saslavsky’s use of melodrama and Lamarque’s performance.","PeriodicalId":40780,"journal":{"name":"Studies in Spanish & Latin American Cinemas","volume":"49 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88704696","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 argues that contemporary Spanish crime film and television has adapted to an economic crisis and has embraced a transnational crime film and television ‘realism’, introspection and pathos that reconciles commercial success with the cultural need to address Spain’s recent history. El niño/The Kid (Monzón, 2014), La isla mínima/Marshland (Rodríguez, 2014), El Príncipe/The Prince (Telecinco, 2014–16) and Mar de plástico/Sea of Plastic (Antena 3, 2015–16) represent an attempt to reach out to audiences by gaining international recognition for Spanish audio-visual productions and honouring local issues and spaces. Their diverse configurations point to the country’s ambiguity about its historical legacy and suggest the emergence of a new, gentler version of Spanish nationalism.
本文认为，当代西班牙犯罪电影和电视已经适应了经济危机，并接受了跨国犯罪电影和电视的“现实主义”，内省和悲情，调和商业成功与文化需要，以解决西班牙最近的历史。El niño/The Kid (Monzón, 2014)、La isla mínima/Marshland (Rodríguez, 2014)、El Príncipe/The Prince (Telecinco, 2014 - 16)和Mar de plástico/Sea of Plastic (Antena 3, 2015-16)代表了通过获得西班牙视听作品的国际认可和尊重当地问题和空间来接触观众的尝试。他们的不同结构表明了这个国家对其历史遗产的模糊，并暗示了一种新的、更温和的西班牙民族主义的出现。
{"title":"Reality matters: Transnational realist crime film and television in Spain","authors":"Luis M. García-Mainar","doi":"10.1386/slac_00004_1","DOIUrl":"https://doi.org/10.1386/slac_00004_1","url":null,"abstract":"This article argues that contemporary Spanish crime film and television has adapted to an economic crisis and has embraced a transnational crime film and television ‘realism’, introspection and pathos that reconciles commercial success with the cultural need to address Spain’s\u0000 recent history. El niño/The Kid (Monzón, 2014), La isla mínima/Marshland (Rodríguez, 2014), El Príncipe/The Prince (Telecinco, 2014–16) and Mar de plástico/Sea of Plastic (Antena 3, 2015–16) represent an attempt to reach out to audiences\u0000 by gaining international recognition for Spanish audio-visual productions and honouring local issues and spaces. Their diverse configurations point to the country’s ambiguity about its historical legacy and suggest the emergence of a new, gentler version of Spanish nationalism.","PeriodicalId":40780,"journal":{"name":"Studies in Spanish & Latin American Cinemas","volume":"2021 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80260969","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 is an edited excerpt of an interview that García-Besné and Tremps conducted with Guillermo Calderón Stell (1919–2018) for their 2009 documentary Perdida/Lost about the Calderón family’s history in Mexican cinema.
{"title":"An interview with Guillermo Calderón","authors":"Viviana García-Besné, A. Tremps","doi":"10.1386/slac_00006_1","DOIUrl":"https://doi.org/10.1386/slac_00006_1","url":null,"abstract":"This is an edited excerpt of an interview that García-Besné and Tremps conducted with Guillermo Calderón Stell (1919–2018) for their 2009 documentary Perdida/Lost about the Calderón family’s history in Mexican cinema.","PeriodicalId":40780,"journal":{"name":"Studies in Spanish & Latin American Cinemas","volume":"39 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89093792","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}
In this interview, filmmaker and archivist Viviana García-Besné discusses her work as the founder of the Permanencia Voluntaria archive and the Baticine microcinema in Tepoztlán, Mexico. As the descendent of a family involved in various areas of the Mexican film industry since the early twentieth century, García-Besné has become an advocate for Mexican popular cinema that has long been dismissed by critics and institutions adopting class-based conceptions of cultural value and ‘quality’ cinema. Accordingly, the central mission of Permanencia Voluntaria includes both restoring films produced by her family and advocating for increased appreciation and institutional support for popular cinema and the audiences who enjoy it.
{"title":"Interview with Viviana García-Besné","authors":"Colin Gunckel","doi":"10.1386/slac_00007_1","DOIUrl":"https://doi.org/10.1386/slac_00007_1","url":null,"abstract":"In this interview, filmmaker and archivist Viviana García-Besné discusses her work as the founder of the Permanencia Voluntaria archive and the Baticine microcinema in Tepoztlán, Mexico. As the descendent of a family involved in various areas of the Mexican film\u0000 industry since the early twentieth century, García-Besné has become an advocate for Mexican popular cinema that has long been dismissed by critics and institutions adopting class-based conceptions of cultural value and ‘quality’ cinema. Accordingly, the central mission\u0000 of Permanencia Voluntaria includes both restoring films produced by her family and advocating for increased appreciation and institutional support for popular cinema and the audiences who enjoy it.","PeriodicalId":40780,"journal":{"name":"Studies in Spanish & Latin American Cinemas","volume":"75 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86176521","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}
El presente artículo analiza los dispositivos de enunciación del film-ensayo español contemporáneo. Para ello, realizamos un itinerario por sus obras más significativas, a partir de la evolución de los dispositivos de enunciación textuales y sus diferentes funciones: voz off, voz in, subtítulos, intertítulos, y la desaparición del texto. Este recorrido nos permite analizar la relación entre estos dispositivos y: las formas intermediales (la carta, el diario, el auotorretrato, etc.); los materiales audiovisuales (imágenes propias, found footage, animación, fotografía, pintura, etc.); los elementos retóricos utilizados (yuxtaposición, pantalla en negro, fundido, sobreimpresión, ralentización, pantalla dividida, etc.). Se evidencia entonces cómo el film-ensayo español contemporáneo genera una progresiva deconstrucción de la subjetividad ensayística mediante procedimientos asociados a los dispositivos de enunciación analizados – ficcionalización, sustracción, desautomatización, objetivación, desintensificación, descentramiento y borrado – que oscilan entre los polos de la reflexión racional y la emocional.
{"title":"Dispositivos de enunciación del film-ensayo español contemporáneo: Evolución de la subjetividad ensayística y su pensamiento en acto","authors":"L. Monterrubio","doi":"10.1386/slac_00003_1","DOIUrl":"https://doi.org/10.1386/slac_00003_1","url":null,"abstract":"El presente artículo analiza los dispositivos de enunciación del film-ensayo español contemporáneo. Para ello, realizamos un itinerario por sus obras más significativas, a partir de la evolución de los dispositivos de enunciación textuales\u0000 y sus diferentes funciones: voz off, voz in, subtítulos, intertítulos, y la desaparición del texto. Este recorrido nos permite analizar la relación entre estos dispositivos y: las formas intermediales (la carta, el diario, el auotorretrato, etc.); los materiales\u0000 audiovisuales (imágenes propias, found footage, animación, fotografía, pintura, etc.); los elementos retóricos utilizados (yuxtaposición, pantalla en negro, fundido, sobreimpresión, ralentización, pantalla dividida, etc.). Se evidencia entonces\u0000 cómo el film-ensayo español contemporáneo genera una progresiva deconstrucción de la subjetividad ensayística mediante procedimientos asociados a los dispositivos de enunciación analizados – ficcionalización, sustracción, desautomatización,\u0000 objetivación, desintensificación, descentramiento y borrado – que oscilan entre los polos de la reflexión racional y la emocional.","PeriodicalId":40780,"journal":{"name":"Studies in Spanish & Latin American Cinemas","volume":"30 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81176538","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 Huevos de oro/Golden Balls (Luna, 1993) and Cinco metros cuadrados/Five Square Meters (Lemcke, 2011) as contrasting examples of the complex relationship between the transformations of place and space and the emergence of forms of marginal subjectivities shaped by notions of precarity and disability. I propose to call the cinematic translation of this coalescence ‘disabled citizenship’, which understands the experience of precarity through a conflicting interaction with the built environment that has profound physical and affective consequences.
本文分析了Huevos de oro/Golden Balls (Luna, 1993)和Cinco metros cuadrados/Five Square Meters (Lemcke, 2011)这两件作品，作为地点和空间的转换与由不稳定和残疾概念塑造的边缘主体性形式的出现之间复杂关系的对比例子。我建议将这种融合的电影翻译称为“残疾人公民身份”，它通过与建筑环境的冲突互动来理解不稳定的体验，这种互动具有深刻的身体和情感后果。
{"title":"(Un)Building the nation’s body: Disabled citizenship in Huevos de oro (1993) and Cinco metros cuadrados (2011)","authors":"Daniel García-Donoso","doi":"10.1386/slac_00002_1","DOIUrl":"https://doi.org/10.1386/slac_00002_1","url":null,"abstract":"This article analyses Huevos de oro/Golden Balls (Luna, 1993) and Cinco metros cuadrados/Five Square Meters (Lemcke, 2011) as contrasting examples of the complex relationship between the transformations of place and space and the emergence of forms of marginal subjectivities shaped\u0000 by notions of precarity and disability. I propose to call the cinematic translation of this coalescence ‘disabled citizenship’, which understands the experience of precarity through a conflicting interaction with the built environment that has profound physical and affective consequences.","PeriodicalId":40780,"journal":{"name":"Studies in Spanish & Latin American Cinemas","volume":"24 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78981365","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}
{"title":"From the face to the crotch: Intersubjectivity, affective schemas and the politics of the close-up in Los Labios/The Lips (Fund and Loza, 2010) and Plan B (Berger, 2009)","authors":"G. Severiche","doi":"10.1386/SLAC.16.2.271_1","DOIUrl":"https://doi.org/10.1386/SLAC.16.2.271_1","url":null,"abstract":"","PeriodicalId":40780,"journal":{"name":"Studies in Spanish & Latin American Cinemas","volume":"84 1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77534172","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}
{"title":"Territorios en disputa: Modernidad, figuración urbana y recepción de la reescritura fílmica de Los de la mesa 10","authors":"J. Sala","doi":"10.1386/SLAC.16.2.213_1","DOIUrl":"https://doi.org/10.1386/SLAC.16.2.213_1","url":null,"abstract":"","PeriodicalId":40780,"journal":{"name":"Studies in Spanish & Latin American Cinemas","volume":"11 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90751850","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}
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