Search Results

You are looking at 1 - 10 of 97 items for :

  • Manchester Film Studies x
Clear All
Abstract only

Parvati Nair and Julián Daniel Gutiérrez-Albilla

Part III Migration, transnationalism and borders Implicit in the very idea of bringing together the work of women filmmakers from Hispanic and Lusophone contexts is the notion that these cultural categories must necessarily be viewed in terms of their migratory and transnational histories. This is so simply by dint of the vast geographical and geopolitical spaces and networks that constitute the Hispanic

Abstract only

Apotheosis or Apparition?

Bombay and the Village in 1990s Women‘s Cinema

Rashmi Sawhney

This article examines the representation of Bombay in Aruna Raje‘s Rihaee (1988) and Sai Paranjpyes Disha (1990). It has been argued here that in both films, Bombay functions as a narrative anchor to the fictive village, which is depicted as the locus of Indian modernity. Symbolism of the village-city trope is used to reorganise the syntagm of modernity-location-gender in new relations of power and also to present alternative visions of national development within the socio-economic context of 1990s liberalisation in India. The dialectic between city and village in these films emphasises the role of memory and migration in women‘s cinema, and also serves as a means to probing the relationship between gender and films in the postcolonial context.

Abstract only

Hispanic and Lusophone women filmmakers

Theory, practice and difference

Edited by: Parvati Nair and Julián Daniel Gutiérrez-Albilla

While women directors continue to be a minority in most national and transnational film contexts, there are those among them who rank among the most innovative and inventive of filmmakers. Filmmaking by women becomes an important route to exploring what lies outside of and beyond the stereotype through reflexivity on violence and conflict, and through visual and narrative explorations of migration, exile, subjectivity, history or individual and collective memory. By documenting and interpreting a fascinating corpus of films made by women coming from Latin America, the US, Portugal and Spain, this book proposes research strategies and methodologies that can expand our understanding of socio-cultural and psychic constructions of gender and sexual politics. It critically examines the work of Hispanic and Lusophone female filmmakers. It 'weaves' several 'threads' by working at the intersections between feminist film theory, gender studies and film practices by women in Latin America, the US, Portugal and Spain. The book explores the transcultural connections, as well as the cultural specificities, that can be established between Spanish, Portuguese, Latin American and Latino contexts within and beyond the framework of the nation state. It suggests that the notion of home and of Basque motherland carry potentially different resonances for female directors.

Abstract only

Edited by: Lisa Shaw and Rob Stone

This book explains how the famous Spanish singer and actress Imperio Argentina starred in a film, Carmen, la de Triana, that was made in Berlin under the auspices of the Third Reich. It examines the Transition between the dictatorship and democratic eras in four films featuring performances in which transgendered protagonists lip-synch to songs from the Hispanic diaspora. The book considers how punk music and its attendant sensibility and cultural practices were profoundly influential in Spain throughout the early years of democracy. It focuses on one of the most financially successful Spanish films of the last ten years: El otro lado de la cama. The book moves to how punk music and its attendant sensibility and cultural practices were profoundly influential in Spain throughout the early years of democracy. This was when the Spanish version of British punk's irreverence, playful and disrespectful attitude toward art, bad taste, and corrosive humour nevertheless failed to capitalise on the political overtones of the original movement. The book lays emphasis on music as an indicator of the attitudes, social hierarchies and demarcations of youth but marks a shift in focus towards flamenco. Continuing the interwoven themes of rootlessness and evolution, it examines the diegetic and non-diegetic contribution of songs to representative films of the so-called 'immigration cinema' genre within Spanish cinema. Next come the exploration of transnationalism, migration and hybridity by exploring the role of Afro-Cuban song, music and dance in two films from Mexican cinema's golden age: Salón Méxicoand Víctimas del pecado.

Abstract only

Jo Evans Icíar Bollaín’s ‘Carte de Tendre’

Mapping female subjectivity for the turn of the millennium

Jo Evans

-en-scène map her characters’ movement through contemporary Spain with narratives that give precedence to geographical and emotional journeys: Hola ¿estás sola? ( Hi, Do You Come Here Often? , 1995) follows two young women’s attempt to find work on the south coast and in Madrid; Flores de otro mundo ( Flowers from Another World , 1999) explores female migration; Te doy mis ojos

Abstract only

Immigration films

Communicating conventions of (in)visibility in contemporary Spain

Maria van Liew

classical situations of migration, which in fact contribute to the transgeneric quality of contemporary immigration films. As Bergfelder proposes, an alternative history of European cinema needs to avoid narratives and discourses of containment in favour of ‘charting the fluidity of identities’ that through greater inclusiveness are more representative of ‘the European idea on a larger scale’ ( 2005 : 329

Abstract only

Children of Men

The limits of radicalism

Series:

Deborah Shaw

9 Children of Men: the limits of ­radicalism Children of Men (2006) is Alfonso Cuarón’s greatest filmic achievement to date and constitutes an auteurist statement in the way that it demands that its director be taken seriously. It addresses weighty issues and sets out to provide an account of the most pressing problems facing humanity: environmental destruction (symbolised by infertility), mass migration, and the tyranny within democratic states. It has its own specific look and applies a grimy desaturated realist aesthetic to a fantasy premise: the fact that

Abstract only

Coastal borders

Welcome and La Graine et le mulet

Gemma King

combination of French characters, and migrants from previous French colonies (namely the Maghreb). Thus, French is the shared language and the lingua franca used. However, in Welcome, the immigrant in question has not found himself in France because it is the logical destination to take refuge in, due to colonial heritage and thus shared language. Bilal is a non-francophone whose migration patterns are not dictated by linguistic or cultural echoes of French colonialism: from Kurdistan, he is fleeing the Iraq war and is merely passing through France on his way to the UK

Abstract only

Continuity and change

The documentary ‘boom’

Thomas Austin

1 Continuity and change: the documentary ‘boom’ In the period from late 2002 to early 2004, trade and popular film publications and websites in the United States and Britain began to identify a ‘boom’ in documentary cinema.1 Such commentaries were based initially on the commercial success of a handful of documentary features, most notably Michael Moore’s Bowling for Columbine (US, released October 2002, grossed $21 million in the US); the sleeper hit Winged Migration (France, a dubbed version of Le Peuple Migrateur, released April 2003, grossed $11 million

Abstract only

Reconfiguring the rural

Fettered geographies, unsettled histories and the abyss of alienation in the work of three Spanish women filmmakers

Parvati Nair

anyone would ever wish to visit Romania, the country he comes from and has left. With disarming candour, he replies, ‘Pero en Romania, no hay euros’. This funny, but poignant, scene of a Romanian child in a Spanish village raises numerous questions about Spanish rural life, social change, human migration and the consequences of the prioritisation of the economic over local cultures and identities