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Transgender performance and the national imaginary in the Spanish cinema of the democratic era

), Phenomenology of Spirit , trans. by A. V. Miller, Oxford: Clarendon Press . 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

in Screening songs in Hispanic and Lusophone cinema

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

in Lukácsian film theory and cinema

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

in The Bible onscreen in the new millennium
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Genre and the birth and childhood

) ‘“ 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: (accessed 24 June 2017). Thanhouser , Ned ( 2011 ) ‘ The Star of Bethlehem (1912) ’, Vimeo . Online at: (accessed 8 June 2017). Van Aertryck , Maximilien ( 2010 ) ‘ Interview

in The Bible onscreen in the new millennium
Epstein’s philosophy of the cinema

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

in Jean Epstein

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

in Eric Rohmer
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– 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 2 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

in The cinema of Lucrecia Martel

change. 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

in Jacques Demy
Bodies, love and jealousy

, 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

in Jacques Rivette

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

in Jean-Luc Godard