Pub Date : 2020-05-22DOI: 10.31009/cc.2020.v8.i14.01
C. Ungureanu, Sonia Arribas, R. Peters
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Pub Date : 2020-05-22DOI: 10.31009/cc.2020.v8.i14.04
Ida Marie Schober
Out of the abundance of recent science fiction works, there is an inherent connection between the films Blade Runner 2049 (Denis Villeneuve, 2017), Her (Spike Jonze, 2013), and Ex Machina (Alex Garland, 2014). They all have female non-human characters in the lead roles, who have to endure spatial restrictions. All three films star lonely men who find their emotional and romantic needs fulfilled in a relationship with these female AI, which they purchased and had programmed especially for them. This aspect of ownership points to an imbalanced power dynamic from the start of the relationship. I will explore why this has become a trend in late capitalist, dystopian, and science fiction genres, drawing parallels to current discussions about the abhorrent treatment many women endure and pointing to the over-sexualization of women in the media as a distributing factor to such treatment. I will utilize a variety of theories including the works of Laura Mulvey, Judith Butler, and Donna Haraway.
{"title":"Loving the AI: Captivity and Ownership in Unbalanced Dystopian Relationships","authors":"Ida Marie Schober","doi":"10.31009/cc.2020.v8.i14.04","DOIUrl":"https://doi.org/10.31009/cc.2020.v8.i14.04","url":null,"abstract":"Out of the abundance of recent science fiction works, there is an inherent connection between the films Blade Runner 2049 (Denis Villeneuve, 2017), Her (Spike Jonze, 2013), and Ex Machina (Alex Garland, 2014). They all have female non-human characters in the lead roles, who have to endure spatial restrictions. All three films star lonely men who find their emotional and romantic needs fulfilled in a relationship with these female AI, which they purchased and had programmed especially for them. This aspect of ownership points to an imbalanced power dynamic from the start of the relationship. I will explore why this has become a trend in late capitalist, dystopian, and science fiction genres, drawing parallels to current discussions about the abhorrent treatment many women endure and pointing to the over-sexualization of women in the media as a distributing factor to such treatment. I will utilize a variety of theories including the works of Laura Mulvey, Judith Butler, and Donna Haraway.","PeriodicalId":414949,"journal":{"name":"Comparative Cinema","volume":"20 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-05-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125920127","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 : 2019-11-29DOI: 10.31009/cc.2019.v7.i13.02
Luis E. Parés
The article questions the problematic figuration of the corpse in the history of Spanish cinema and particularly in the genre of comedy. Starting with a verification of the centrality of death and its representations in Spanish culture, the author inquires into the ways in which corpses are present in our cinema and how the approach to this motif explains a particular attitude in terms of history and encodes a critical eye or an escapist attitude on the part of filmmakers and films. After tracing a genealogy of its representations, taking the bodies of the fallen in the Spanish Civil War as the first important corpses, the text creates a symptomatic history of the different forms of corpse representation in Spanish post-war cinema, focusing on the way in which the figure is shifted towards the field of comedy and its evolution, going from an evasive, depoliticized approach towards the territory of darkness and critical penetration. The author also points to the relevance of corpse representation in the cinema of the Transition, and its disappearance when democracy was consolidated. Finally, the representation of the corpse is established as a significant tool for confirming the critical load of Spanish cinema in relation to its history and its present
{"title":"Comedies with corpses but without weeping or mourning","authors":"Luis E. Parés","doi":"10.31009/cc.2019.v7.i13.02","DOIUrl":"https://doi.org/10.31009/cc.2019.v7.i13.02","url":null,"abstract":"The article questions the problematic figuration of the corpse in the history of Spanish cinema and particularly in the genre of comedy. Starting with a verification of the centrality of death and its representations in Spanish culture, the author inquires into the ways in which corpses are present in our cinema and how the approach to this motif explains a particular attitude in terms of history and encodes a critical eye or an escapist attitude on the part of filmmakers and films. After tracing a genealogy of its representations, taking the bodies of the fallen in the Spanish Civil War as the first important corpses, the text creates a symptomatic history of the different forms of corpse representation in Spanish post-war cinema, focusing on the way in which the figure is shifted towards the field of comedy and its evolution, going from an evasive, depoliticized approach towards the territory of darkness and critical penetration. The author also points to the relevance of corpse representation in the cinema of the Transition, and its disappearance when democracy was consolidated. Finally, the representation of the corpse is established as a significant tool for confirming the critical load of Spanish cinema in relation to its history and its present","PeriodicalId":414949,"journal":{"name":"Comparative Cinema","volume":"13 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-11-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126997009","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 : 2019-11-29DOI: 10.31009/cc.2019.v7.i13.03
Gonzalo Aguilar
Cinema takes part in the tradition of rites for evoking the dead that are also rites of separation from their corpses. Once the image is formed, the corpse can be buried. Sometimes this image is a tombstone, others a death mask or a photo. Cinema provided a new possibility: filming or recording the corpse whileit was alive. In this way, photography and cinema were the two most powerful instruments of immortalization (embalming) of the 20th century. This articleinvestigates immanent and transcendent corpses in Argentinian history: Evita Perón, the desaparecidos (“missing people”) of the last military dictatorship, andPedro Eugenio Aramburu (the de facto ex-President who overthrew Perón in 1955 and was murdered by Montoneros’ guerrilla organization), among others. Based on the cinematographic representations which evoke these corpses (with varying degrees of accuracy), as well as the popular expressions that accompanied them (militant songs, colloquial expressions, etc.), this text explores the transformation of a corpse, as such, to its consecration as the image of the people.
{"title":"Notes on some Argentinian corpses","authors":"Gonzalo Aguilar","doi":"10.31009/cc.2019.v7.i13.03","DOIUrl":"https://doi.org/10.31009/cc.2019.v7.i13.03","url":null,"abstract":"Cinema takes part in the tradition of rites for evoking the dead that are also rites of separation from their corpses. Once the image is formed, the corpse can be buried. Sometimes this image is a tombstone, others a death mask or a photo. Cinema provided a new possibility: filming or recording the corpse whileit was alive. In this way, photography and cinema were the two most powerful instruments of immortalization (embalming) of the 20th century. This articleinvestigates immanent and transcendent corpses in Argentinian history: Evita Perón, the desaparecidos (“missing people”) of the last military dictatorship, andPedro Eugenio Aramburu (the de facto ex-President who overthrew Perón in 1955 and was murdered by Montoneros’ guerrilla organization), among others. Based on the cinematographic representations which evoke these corpses (with varying degrees of accuracy), as well as the popular expressions that accompanied them (militant songs, colloquial expressions, etc.), this text explores the transformation of a corpse, as such, to its consecration as the image of the people.","PeriodicalId":414949,"journal":{"name":"Comparative Cinema","volume":"37 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-11-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131027815","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 : 2019-11-29DOI: 10.31009/cc.2019.v7.i13.06
Carolina Sourdis, Luis Ospina, C. Restrepo
In this conversation, Luis Ospina and Camilo Restrepo, two filmmakers who personify two periods in Colombian cinema and history, reflect on the presence of dead bodies in cinema and, particularly, of corpses as a filmic matter in their respective works and poetics. On the basis of a similar questionnaire carried out simultaneously with each filmmaker, the text brings together common and dissonant motifs to outline a possible generational arc of Colombian cinema in which the cinematographic representation of the corpse is presented as a historiographical and political motif in order to carry out an interpretation of cinema and history.
{"title":"Images to raise our gaze: Fragments from a conversation with Luis Ospina and Camilo Restrepo","authors":"Carolina Sourdis, Luis Ospina, C. Restrepo","doi":"10.31009/cc.2019.v7.i13.06","DOIUrl":"https://doi.org/10.31009/cc.2019.v7.i13.06","url":null,"abstract":"In this conversation, Luis Ospina and Camilo Restrepo, two filmmakers who personify two periods in Colombian cinema and history, reflect on the presence of dead bodies in cinema and, particularly, of corpses as a filmic matter in their respective works and poetics. On the basis of a similar questionnaire carried out simultaneously with each filmmaker, the text brings together common and dissonant motifs to outline a possible generational arc of Colombian cinema in which the cinematographic representation of the corpse is presented as a historiographical and political motif in order to carry out an interpretation of cinema and history.","PeriodicalId":414949,"journal":{"name":"Comparative Cinema","volume":"3 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-11-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134277102","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 : 2019-11-29DOI: 10.31009/cc.2019.v7.i13.05
Daniel Pérez-Pamies, Marta Lopera-Mármol
This article uses a comparative and hermeneutical analysis to explore the similarities and differences between the cinematographic work of Billy Wilder,in particular, Sunset Blvd. (1950), and David Lynch and the well-known television series Twin Peaks (David Lynch & Mark Frost, CBS, 1990-1991), as well as itswidely-expected continuation: Twin Peaks: The Return (David Lynch & Mark Frost, Showtime, 2017), paying special attention to the representation of the corpse both in narrative and historical terms. The hypothesis of the authors is that the figuration of the dead contains and symbolizes a specific model of representation at the same time as it anticipates the appearance of a new one. In conclusion, the body in suspension, located in the gap between life and death, functions as a hinge between the past and the future.
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Pub Date : 2019-11-29DOI: 10.31009/cc.2019.v7.i13.04
A. Basualdo
espanolEl presente articulo propone un recorrido por el Parque de la Memoria (espacio conmemorativo de la ciudad de Buenos Aires, abierto hacia el Rio de la Plata, donde tantos cadaveres terminaron sumergidos), que entrecruza el tiempo del horror con uno que se pregunta que monumentos, que representaciones se pueden, se deben, ?se deberian?, erigir, ensayar, para dar cuerpo a lo sustraido. Preguntas que entablan un necesario dialogo con las ficciones de los H.I.J.O.S.(Hijos e Hijas por la Identidad y la Justicia contra el Olvido y el Silencio) de losdesaparecidos que comenzaron a producir sus propios relatos en los ultimosveinte anos. EnglishThis article takes the reader on a journey through Remembrance Park (the commemorative area in the city of Buenos Aires, which looks onto Rio de laPlata, where so many corpses ended up submerged) which intertwines the time of horror with a time that wonders which monuments, which representationscan, must, should (?) be erected, practiced, to give substance, body, to what has been taken away. Questions that require us to initiate a dialogue with thefictional works of H.I.J.O.S. (Spanish acronym for Sons and Daughters for Identity and Justice Against Forgetting and Silence, which coincidentally also reads as“children” in Spanish) of the desaparecidos (“missing people”) that started to produce their own stories over the last 20 years.
espanolEl本打算跟进一个旅游公园纪念空间记忆(布宜诺斯艾利斯,翻到河的红光,就是完成这么多死人淹没),entrecruza时间的恐怖与一个纪念碑,性能问题,应可以被谅解?，竖立，排练，赋予被剥夺的东西身体。这些问题与H.I.J.O.S.(为身份而生的儿子和女儿，反对遗忘和沉默的正义)的小说展开了必要的对话，这些小说讲述了在过去20年里开始创作自己故事的失踪者。EnglishThis条takes the reader on a journey through纪念日公园(the commemorative area in the city of which looks学校国际协会在laPlata,布宜诺斯艾利斯,在如此多的corpses终了up submerged) which intertwines the time of恐怖with a time that奇迹which monuments, which representationscan,必须(?)应erected practiced,给substance, body to what has been采取away。问题that require initiate a dialogue with us to thefictional works of H.I.J.O.S. (Sons and Daughters for [acronym Identity and Justice Forgetting和沉默,which coincidentally还reads向导”“儿童失踪(西班牙)“人民派”)that started to over the过去近20年的故事使他们自己。
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Pub Date : 2019-11-28DOI: 10.31009/cc.2019.v7.i13.01
A. Mirizio
This text sets out to present the cinematic representation of Pier Paolo Pasolini and Aldo Moro from the idea of the “unburied corpse”. I propose here that, due to the circumstances of their deaths, the lifeless bodies of the filmmaker and the politician do not endorse their public identity but rather overflow and unfold it. Their corpses configured an identity of ordinary man that replaced the image of the public man in the Italian collective imagination and contended to the public character the space of representation. The text recovers some proposals of The Moro Affair (L’affaire Moro, Leonardo Sciascia, 1978) to reconstruct the links between these two protagonists of the intellectual and political life of the Years of Lead. I also analyze the way in which Italian cinema has attempted to interpret the split figures of Moro and Pasolini and their unburied corpses.
本文从“未埋葬的尸体”的概念出发，提出了Pier Paolo Pasolini和Aldo Moro的电影表现。我在这里提出，由于他们死亡的环境，电影制作人和政治家的无生命的身体不支持他们的公共身份，而是溢出和展开它。他们的尸体构成了一个普通人的身份，取代了意大利集体想象中的公众人物形象，并向公众人物争夺了再现的空间。本文恢复了《摩罗事件》(L 'affaire Moro, Leonardo Sciascia, 1978)的一些建议，以重建铅时代知识分子和政治生活中这两位主角之间的联系。我还分析了意大利电影试图解释莫罗和帕索里尼的分裂人物以及他们未被埋葬的尸体的方式。
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Pub Date : 2019-05-18DOI: 10.31009/cc.2019.v7.i12.01
Victoria Cirlot
This article attempts to set out and understand what art historian Aby Warburg called Pathosformel (pathos formulae), a key concept in his studies, though he never expressly offered a definition, nor explained what his understanding of it was. The emergence of the concept is traced in his work, deciphering its meaning and its implications for the analysis of images, also from the most significant and recent bibliography on the subject. Finally, the Pathosformel concept is applied to a contemporary photographic image which enables us to better understand its effect in the way it is received by its viewers, thus establishing a dialogue between the iconographic tradition of the past and the present.
{"title":"The pathos formulae and their survival (ENG/ESP)","authors":"Victoria Cirlot","doi":"10.31009/cc.2019.v7.i12.01","DOIUrl":"https://doi.org/10.31009/cc.2019.v7.i12.01","url":null,"abstract":"This article attempts to set out and understand what art historian Aby Warburg called Pathosformel (pathos formulae), a key concept in his studies, though he never expressly offered a definition, nor explained what his understanding of it was. The emergence of the concept is traced in his work, deciphering its meaning and its implications for the analysis of images, also from the most significant and recent bibliography on the subject. Finally, the Pathosformel concept is applied to a contemporary photographic image which enables us to better understand its effect in the way it is received by its viewers, thus establishing a dialogue between the iconographic tradition of the past and the present.","PeriodicalId":414949,"journal":{"name":"Comparative Cinema","volume":"106 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-05-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116852359","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 : 2019-05-18DOI: 10.31009/cc.2019.v7.i12.02
L. Sánchez
This article focuses on the study of two contextualized images within Catalonia’s process of independence in order to analyze the role of the visual tradition in contemporary political scenarios. The presence of emotions and pathos in some symbolic images linked with the October 1 referendum brings up to date the intellectual legacy of Aby Warburg and his notion of Pathosformel, as applied to the study of contemporary visual culture and Internet memes
{"title":"Pathos in Catalonia: the politics of images in the era of memes (ENG/ESP)","authors":"L. Sánchez","doi":"10.31009/cc.2019.v7.i12.02","DOIUrl":"https://doi.org/10.31009/cc.2019.v7.i12.02","url":null,"abstract":"This article focuses on the study of two contextualized images within Catalonia’s process of independence in order to analyze the role of the visual tradition in contemporary political scenarios. The presence of emotions and pathos in some symbolic images linked with the October 1 referendum brings up to date the intellectual legacy of Aby Warburg and his notion of Pathosformel, as applied to the study of contemporary visual culture and Internet memes","PeriodicalId":414949,"journal":{"name":"Comparative Cinema","volume":"54 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-05-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114905214","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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