A disjunctive order
Place, space and the gendered body in Isabel Coixet’s The Secret Life of Words (2005)
in Hispanic and Lusophone women filmmakers
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This chapter explores what happens to national cinemas and visual representation under a global mode of economic and cultural production which Arjun Appadurai has conceptualised as 'a disjunctive order'. It focuses on the cinema of Isabel Coixet (focusing on her film The Secret Life of Words) , a Catalan-born filmmaker whose work provides an excellent case study for testing the impact of transnational economic and symbolic structures on the modern notion of national cinema as well as on filmic representation. The chapter maps Coixet's filmography to determine both the thematisation of gender discourse and the overlap between different national and transnational regimes. It examines her film The Secret Life of Words in two different contexts: the specific political theme addressed and the external conditions of production, marketing, distribution, exhibition and critical reception. The chapter also looks at the representational strategies used to visually construct the gendered displacement of subjectivity.

Hispanic and Lusophone women filmmakers

Theory, practice and difference

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