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Auteurism, politics, landscape and memory

This book is a collection of essays that offers a new lens through which to examine Spain's cinematic production following the decades of isolation imposed by the Franco regime. The films analysed span a period of some 40 years that have been crucial in the development of Spain, Spanish democracy and Spanish cinema. The book offers a new lens to examine Spain's cinematic production following the decades of isolation imposed by the Franco regime. The figure of the auteur jostles for attention alongside other features of film, ranging from genre, intertexuality and ethics, to filmic language and aesthetics. At the heart of this project lies an examination of the ways in which established auteurs and younger generations of filmmakers have harnessed cinematic language towards a commentary on the nation-state and the politics of historical and cultural memory. The films discussed in the book encompass different genres, both popular and more select arthouse fare, and are made in different languages: English, Basque, Castilian, Catalan, and French. Regarded universally as a classic of Spanish arthouse cinema, El espíritu de la colmena/The Spirit of the Beehive has attracted a wealth of critical attention which has focused on political, historical, psychological and formal aspects of Víctor Erice's co-authored film-text. Luis Bunuel's Cet obscur objet du désir/That Obscure Object of Desire, Catalan filmmaker Ventura Pons' Ocana. Retrat Intermitent/Ocana. An Intermittent Portrait, Francisco Franco's El Dorado, Víctor Erice's El sol del membrillo/The Quince Tree Sun, and Julio Medem's Vacas/Cows are some films that are discussed.

Lisa Downing

realm of the interpersonal encounter signals not a retreat from ethical concerns but – paradoxically – a return to them. It is my contention, then, that in these recent works, Leconte exploits the filmic language of love as a metaphor for broader ethical challenges, encounters and dilemmas in ways that parallel the contexts in which Levinas’s work is starting to be considered within recent theoretical

in Patrice Leconte
Rethinking art, media, and the audio-visual contract
Author: Ming-Yuen S. Ma

There is no soundtrack is a specific yet expansive study of sound tactics deployed in experimental media art today. It analyses how audio and visual elements interact and produce meaning, drawing from works by contemporary media artists ranging from Chantal Akerman, to Nam June Paik, to Tanya Tagaq. It then links these analyses to discussions on silence, voice, noise, listening, the soundscape, and other key ideas in sound studies. In making these connections, the book argues that experimental media art – avant-garde film, video art, performance, installation, and hybrid forms – produces radical and new audio-visual relationships that challenge and destabilize the visually-dominated fields of art history, contemporary art criticism, cinema and media studies, and cultural studies as well as the larger area of the human sciences. This book directly addresses what sound studies scholar Jonathan Sterne calls ‘visual hegemony’. It joins a growing body of interdisciplinary scholarship that is collectively sonifying the study of culture while defying the lack of diversity within the field by focusing on practitioners from transnational and diverse backgrounds. Therefore, the media artists discussed in this book are of interest to scholars and students who are exploring aurality in related disciplines including gender and feminist studies, queer studies, ethnic studies, postcolonial studies, urban studies, environmental analysis, and architecture. As such, There Is No Soundtrack makes meaningful connections between previously disconnected bodies of scholarship to build new, more complex and reverberating frameworks for the study of art, media, and sound.

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

Castañeda’s communion outfit. Such details are typical of Chircales ’ filmic language, a nascent feminist aesthetic which privileges the edges of the frame, that which Clara Riascos would later call ‘el bordadito’, ‘la pendejadita’ (Cine Mujer, 1987 : 12). 5 Ideological displacement is thus echoed aesthetically by a decentring of the filmic frame, and takes place in the filming of the brickmakers: a

in Hispanic and Lusophone women filmmakers
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Lisa Downing and Sue Harris

progress of its putrefaction. A couple of potatoes left in the kitchen will similarly sprout increasingly elaborate growths as Carol’s madness escalates. These objects are at once banal and uncanny. Their role in the film is as markers of the real, announcing the emergence of psychosis over symbolisation (though obviously they themselves are mediated symbols of the schism in sanity within a tightly constructed metaphorical filmic

in From perversion to purity
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Joseph Losey and the crisis of historical rupture
Colin Gardner

explicate this new filmic language? What is its connection to the politics of historical rupture? Finally, and most importantly, what were the repercussions of this experiment on post-war British cinema? Obviously we will tackle these issues throughout the course of this book, but let’s explore the issue of film language first. What exactly do we mean by ‘ontological immanence’? In this context, we are referring to a non

in Joseph Losey
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Sian Barber

and coded meanings which lie within the text. Pioneered by Christian Metz in the 1960s, such work in breaking down the filmic language and seeking to understand how meaning is communicated through visual and auditory representation can help us explore the deeper textual meanings being played out on screen.2 Unlike semiotics, which draws on linguistics and language, the discipline of history – along with politics, media studies and sociology – approaches film in a different way, foregrounding the importance of film as a cultural object and emphasising the importance

in Using film as a source
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Maria M. Delgado

. In terms of the philosophical coherence of the project, association with the canon and a critical reflection on the political status quo are of interest to all the studies gathered here, along with a sharpness of focus on a key aspect or concept pertinent to each of the 17 films covered. The figure of the auteur jostles for attention alongside other features of film, ranging from genre, intertexuality and ethics, to filmic

in Spanish cinema 1973–2010
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Voiceover, autoethnography, performativity
Ming-Yuen S. Ma

, performers, and commentators of films who sometimes rival the popularity of the film’s star actors.82 News from Home and Sans Soleil show that a voiceover narration, even displaced, persists in its authority to redefine a film’s images – this is the powerful legacy of the picture narrator. In these films, the female voice reconnects the lecturer’s power of redefinition to the filmic language in contemporary documentary and ethnographic films, where the embodied image of the ‘talking heads’ interview has long stood for ‘truth’ and ‘reality’. Yet, unlike the totalizing

in There is no soundtrack
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Andrew Dix

interrogatory work, showing it in venues where the film texts themselves were frequently supplemented by printed materials, lectures and talks, and consciousness-raising discussions among spectators. Yet feminist counter-cinema of the 1970s was problematical as a political option. By virtue of its suspicion of the mainstream’s pleasures, it risked striking an austere, even puritanical note, and was often in danger of speaking a filmic language comprehensible only to elite fractions of cineastes rather than to the mass female audience that was its intended

in Beginning film studies (second edition)