Transgender performance and the national imaginary in the Spanish cinema of the democratic era
Ian Biddle and Santiago Fouz-Hernández
Phenomenology of Spirit , trans. by A. V.
Miller, Oxford: Clarendon
Kassabian , Anahid
( 2001 ), Hearing Film.
Tracking Identifications in Contemporary Hollywood Film Music ,
New York: Routledge .
Kinder , Marsha ( 1993 ),
Blood Cinema: the Reconstruction of National
Identity in Spain , Berkeley, Los Angeles, London: University of California
post-structuralist or postmodern thought.
However, as we have seen, Lukács’ conception of the
‘complex’ as the central structuring element within
social being places limitations upon relationality, and, in
addition, Lukács draws his understanding of relational meaning
from Hegel, classical phenomenology and dialectical materialism,
rather than from post-structuralist or
Contemporary Hollywood: From Dances with Wolves to Gladiator , New York : Continuum .
Searles , Baird ( 1990 ) EPIC! History on the Big Screen , New York : Abrams .
Sobchack , Vivian ( 1990 ) ‘“ Surge and Splendor”: A Phenomenology of the Hollywood Historical Epic ’, Representations 29 , pp. 24 – 49 .
Thompson , Kirsten Moana ( 2011 ) ‘ 360° Vision and the Historical Epic in the Digital Era ’ in Burgoyne , Robert (ed.) The Epic Film in World Culture , London : Routledge , pp. 39 – 62 .
Turner , Graeme ( 1988 ) Film as Social Practice , 2nd
) ‘“ Surge and Splendour”: A Phenomenology of the Hollywood Historical Epic ’ in Grant , Barry Keith (ed.) Film Genre Reader II , Austin : University of Texas Press , pp. 280 – 307 .
Stephenson , David ( 2010 ) ‘ Fury Over BBC’s Nativity Insult ’, Daily Express , December 10. Online at: www.express.co.uk/news/uk/218290/Fury-over-BBC-s-Nativity-insult (accessed 24 June 2017).
Thanhouser , Ned ( 2011 ) ‘ The Star of Bethlehem (1912) ’, Vimeo . Online at: https://vimeo.com/20025872 (accessed 8 June 2017).
Van Aertryck , Maximilien ( 2010 ) ‘ Interview
tutelary figure. This prescient work
merging cognitive, psychological, and cultural perspectives, was at
cross-purpose with the existentialist phenomenology in vogue in
the 1950s, and with the rise of Bazin as France’s main thinker of
cinema. Largely neglected then, Cinema, or the Imaginary Man is now
receiving renewed critical attention, especially after it was translated
into English (2005a). Morin followed suit with a second work, The
Stars (2005b), which also takes up where Epstein had left off with his
feverish and lyrical ‘love’ in Bonjour Cinéma for silent stars
to appreciate the seventh art as such and
to identify political and moral priorities through reflexive analysis
(Andrew 1978 : 64). It was this pedagogic value of
cinema, at the crossroads of phenomenology, ethics, and politics, that
brought Bazin to cultural activism, leading him to deliver countless
lectures in factories and meeting-halls, to coordinate Objectif 49, a
prominent ciné-club which rallied left
– including feminist and queer approaches, political readings and
phenomenology – and suggests new ways of understanding her
films, in particular through their use of the child’s perspective, and
The cinema of Lucrecia Martel
address to the senses and perception, which it argues serves to renew
cinematic language and thought.1
Lucrecia Martel (b. 1966) grew up in Salta province, north-west
Argentina, in a conservative middle-class family, and it is this milieu
which is depicted in her first three features, which draw on memories
of growing up in Salta, and keen
Lola is constructed as an embodied subject. When we first see
her emerging from the dancing girls and sailors in the Eldorado her
body dictates her actions; she notices a fold in her tights and lifts
her leg to smooth them. In many ways, Lola illustrates one of the
premises of corporeal phenomenology as outlined by Merleau-Ponty:
‘nous sommes au monde par notre corps, en tant que nous percevons le monde avec notre corps. Mais en reprenant ainsi contact avec
le corps et avec le monde, c’est aussi nous-même que nous allons
retrouver, puisque, si l’on perçoit avec
20 July, 18–19 .
Seguret , O. ( 1991 ), ‘Rivette, artiste peintre’ , Libération , 15 May.
Seguret , O. ( 2001 ), ‘Va voir Rivette’ , Libération , 17 May.
Silverman , K. ( 1988 ), The Acoustic Mirror: The Female Voice in Psychoanalysis and
Cinema , Bloomington , Indiana University Press .
Sobchack , V. ( 1992 ), The Address of the Eye: A Phenomenology of the Film
Experience , Princeton , Princeton University Press
suggests) the international capitalist economy. As Penley remarks,
‘what seems at first like an obsessive phenomenology’ in
Godard’s questions about space and time ‘is gradually revealed
to be an interest in the institutional organisation of space and time and in
the power of those spatial and temporal grids’ (Penley 1982 : 34). This concern, as Penley recognises, testifies
to the influence of Michel Foucault’s research into institutionalised