The politics of pathos in Pilar Miró’s Gary Cooper, que estás en los cielos (1980)
in Hispanic and Lusophone women filmmakers
Abstract only
Log-in for full text

You are not authenticated to view the full text of this chapter or article.

manchesterhive requires a subscription or purchase to access the full text of books or journals - to see content that you/your institution should have access to, please log in through your library system or with your personal username and password.

If you are authenticated and think you should have access to this title, please contact your librarian.

Non-subscribers can freely search the site, view abstracts/extracts and download selected front and end matter. 

Institutions can purchase access to individual titles; please contact for pricing options.


If you have an access token for this content, you can redeem this via the link below:

Redeem token

Pilar Miró's Gary Cooper, que estás en los cielos (Gary Cooper Who Art in Heaven) has long been regarded as one of the key films of Spain's transition to democracy. Unlike her previous films, Gary Cooper is firmly grounded in the contemporary social reality of Spanish women in the workplace during the transition to democracy. This chapter looks at a crucial aspect of the film that has been largely overlooked: its complex and contradictory engagement with pathos. It shows that the affective structure of Miro's film is a particularly revealing framework for exploring the ways in which female citizenship and identity were renegotiated during the transition. The chapter explores the ways in which pathos can be read as a political strategy in the film, paying particular attention to its relationship with the body, silence, music and the crucial role of the stardom of Gary Cooper.

Hispanic and Lusophone women filmmakers

Theory, practice and difference


All Time Past Year Past 30 Days
Abstract Views 37 16 0
Full Text Views 26 7 0
PDF Downloads 3 1 1