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La flor de mi secreto
Ana María Sánchez-Arce

‘woman who has problems with her husband’ appeals to more general issues surrounding grief, as well as puncturing Spain’s over-confident self-image in the 1990s. La flor achieves this through its veiled satire of the couple and their friends, of the military’s new image as protecting human rights in Yugoslavia, and of the ruling socialist government that was eroding worker’s rights at the time. La flor is a subtle poisoned dart satirising Spain’s euphoria at supposedly leaving behind the dictatorship and Transition. It is no coincidence that Paco is in charge of a

in The cinema of Pedro Almodóvar
Tom Stoppard’s The Dog It Was That Died
Jonathan Bolton

rights activism in the mid-to-late 1970s had led to him to take a keen interest in morality and ethics, particularly the factors and conditions that confuse what he perceived to be simple choices between right and wrong. Observing the simple, right-minded ethical decisions made by his own children, Stoppard came to trust in a kind of instinctive, genetically inherited moral sensibility. As Stoppard explains it, “for me human rights simply endorse a view of life and a set of values that are perfectly clear to an eight-year-old child. A child knows which is fair and what

in The Blunt Affair
Contemporary French cinema and the Second World War

Nazi-occupied France, 16 July 1942. The French police arrest 13,152 Jewish residents of Paris and hold them at the Vélodrome d’Hiver before facilitating their deportation to extermination camps, over two-thirds to Auschwitz. Not until 1995, on the fifty-third anniversary of the Vél’ d’Hiv roundup, was the French authorities’ complicity in this event officially acknowledged in a speech by newly elected president Jacques Chirac: ‘France, land of the Enlightenment and of Human Rights … France, on that day, committed an irreparable act.’ Reframing remembrance: Contemporary French cinema and the Second World War argues that Chirac’s speech marked a shift in the way French society, and its filmmakers, commemorated the Second World War. By following Henry Rousso’s model (outlined in Le syndrome de Vichy), viewing historical films as vectors of memory, this book analyses cinematic representations of the Occupation as expressions of commemoration. It charts the evolution of Second World War stories told on French screens and argues that more recent films are concerned with the collective experience of the Occupation, the pedagogical responsibility of historical films and with adopting a self-reflective approach to their narrative structures. With its catalogue-like structure and clear thematic analysis of key concepts such as resistance, collaboration and legacy, Reframing remembrance is an informative and accessible investigation into French cinema and its treatment of the Second World War.

Todo sobre mi madre
Ana María Sánchez-Arce

This chapter explores Almodóvar’s preoccupation with memory of a personal and a historical nature through the analysis of Todo sobre mi madre, a film that is a memory text containing other memory texts such as photographs. Repression and censorship of the main character’s past functions allegorically to explore censorship of the history in a process institutionally supported by the Spanish 1977 Amnesty Law, also known as the pact of oblivion. The film also uses other abuses of Human Rights, for example in Argentina, to explore the Spanish Civil War and post-war trauma. It gives pre-eminence to the point of view of a young generation of Spaniards (the dead son) in its re-creation of memory through artistic re-imagination. The chapter further suggests that this is Almodóvar’s first historical look at the marginal lives of the LGBTQ+ community in the Spain of the Transition and beyond. However, this is a melodrama that resolves issues in a positive way for cis women at the expense of LGBTQ+ characters.

in The cinema of Pedro Almodóvar
Abstract only
Author: Steve Blandford

This is the first book-length study of one of the most significant of all British television writers, Jimmy McGovern. The book provides comprehensive coverage of all his work for television including early writing on Brookside, major documentary dramas such as Hillsborough and Sunday and more recent series such as The Street and Accused.

Whilst the book is firmly focused on McGovern’s own work, the range of his output over the period in which he has been working also provides something of an overview of the radical changes in television drama commissioning that have taken place during this time. Without compromising his deeply-held convictions McGovern has managed to adapt to an ever changing environment, often using his position as a sought-after writer to defy industry trends.

The book also challenges the notion of McGovern as an uncomplicated social realist in stylistic terms. Looking particularly at his later work, a case is made for McGovern employing a greater range of narrative approaches, albeit subtly and within boundaries that allow him to continue to write for large popular audiences.

Finally it is worth pointing to the book’s examination of McGovern’s role in recent years as a mentor to new voices, frequently acting as a creative producer on series that he part-writes and part brings through different less-experienced names.

Parvati Nair and Julián Daniel Gutiérrez-Albilla

conflicts, whether sanctioned by states or not, that take place at a local, national or global level, such as wars, terrorist attacks, genocides or any other acts that violate human rights or that represent a crime against humanity. Thus, if culture is ideologically shaped and contested, constructed and deconstructed, the interconnection between culture and conflict is always made manifest at a macro-political and at a micro

in Hispanic and Lusophone women filmmakers
Rosa Linda Fregoso

a phenomenon that is considered Mexico’s number one human rights problem: feminicide in the border city of Ciudad Juárez. Since 1993, over 600 women and girls have been murdered and more than 1,000 have disappeared in the state of Chihuahua, Mexico, alone. Of those murders, approximately one-third of the victims were assassinated under similar circumstances: they were held in captivity, raped

in Hispanic and Lusophone women filmmakers
Gender (and) politics in Colombian women’s documentary
Deborah Martin

inadequate. The film never mentions the human rights abuses of which paramilitaries are routinely accused, although this may be inevitable in a film which attempts to have an immanent relationship to the community portrayed. It relies on irony to subtly expose the subjects’ ideology around human rights and war, particularly where paramilitary violence conflicts with the demands of parenting, a crucial issue in a

in Hispanic and Lusophone women filmmakers
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The limits of radicalism
Deborah Shaw

the wrongs of the world and the representation of a nation whose borders have been permeated despite human rights abuses committed against refugees. The film rewrites James’s novel, which is a profound meditation on the spiritual dimensions of an infertile world and does not have the same focus on issues of globalisation and migration. Cuarón’s film tells the story of Theo Faron (Clive Owen).6 Theo is an unimportant bureaucrat working in the Ministry of Energy (in the novel he is a history professor), yet, ironically, he is entirely lacking in energy, and is a

in The three amigos
Silence, historical memory and metaphor
Maria M. Delgado

aggression in the Civil War and its aftermath. Spain has not been alone in introducing legislation that has sought to come to terms with a dictatorial past and its human rights violations. Argentina, too, has its own quota of desaparecidos, who were eradicated by the military junta that seized power in 1976. Between 1976 and 1983, when Raúl Alfonsín’s civilian government came to power, over 30,000 Argentines were aggressively

in Spanish cinema 1973–2010