Author: Sarah Wright

In the full-length treatment of the child in Spanish cinema, this book explores the ways that the cinematic child comes to represent 'prosthetic memory'. The cinematic children in the book retain traces of their mechanical origins: thus they are dolls, ventriloquists' dummies, cyborgs or automata. Moreover, by developing the monstrous undertones evoked by these mechanical traces (cinema such as 'Frankensteinian dream'), these films, in different ways, return repeatedly to a central motif. The central motif is the child's confrontation with a monster and, derivatively, the theme of the monstrous child. Through their obsessive recreation over time, the themes of the child and the monster and the monstrous child come to stand in metonymically for the confrontation of the self with the horrors of Spain's recent past. The book focuses on the cine religioso (religious cinema), in particular, Marcelino, pan y vino. The children of cine religioso appear like automata, programmed to love unconditionally an absent mother. The book then examines the Marisol's films from the 1960s and the way she was groomed by her creators to respond and engineer the economic and cultural changes of the consumerist Spain of the 1960s. It further deals with Victor Erice's El espiritu de la colmena and works through cinematic memories of this film in later works such as El laberinto del fauno, El orfanato and El espinazo del diablo. The films are seen to gesture towards the imaginary creation of a missing child.

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Eamon Maher and Eugene O’Brien

factually true. The story goes that a teacher, having prepared her primary children for their First Communion, waited anxiously on a breezy Saturday morning for one child who had not appeared at the church. The ceremony was delayed and some mobile phone calls were made, but to no avail. Reluctantly the teacher agreed to the delayed beginning of the ceremony, but kept casting anxious glances to the back of the church, in the hope Conclusion 231 that the missing child would arrive. However, this did not happen, and the ceremony went ahead in her absence. The following

in From prosperity to austerity
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Edwin Bacon, Bettina Renz and Julian Cooper

fifteen-year-old Inga Tuayeva, who was saved by the fact that she stopped to chat to a friend whilst her twin sister Inna went ahead and was killed, and of parents and relatives who for months clung to the hope that somehow their missing child had escaped the carnage. A week after the Beslan tragedy, Russia’s president, Vladimir Putin, addressed an expanded meeting of his government, to which the leaders of Russia’s eighty-nine regions were invited. He spoke movingly of an event ‘it is impossible to think about without tears’. In the same speech he announced a series of

in Securitising Russia
Laura Suski

, it must also be noted that many children around the world exist outside of this model precisely because they do not figure at all in practices of consumption. 21 D. T. Cook , ‘ The Missing Child in Consumption Theory ’, Journal of Consumer Culture , 8 : 2 ( 2008

in Global humanitarianism and media culture
Sarah Wright

expression of sentiments that have yet to assume verbal form, or that resist clear articulation’ (Greene, 1999: 5). Collectively these films seem to be stalked by the spectre of the missing child (a topic which, as we mentioned in the Introduction, has gained urgency in the news of late as stories of missing children under Francoism emerge in the mass media as the embodiment of a lost national historical memory. Beginning with El espíritu de la colmena, and reaching an urgency with El laberinto del fauno, they engage with the notion of the status of prosthetic memories and

in The child in Spanish cinema
Spaces and tensions
John Corner

, been clearer than in the coverage of crime stories. In Britain, the treatment of 160 PART TWO(1) the 2007 Madeleine McCann ‘missing child’ case, both by television and the press, is an obvious, if extreme, example. A much broader area of media output, internationally, where these tensions and shifts both of practice and of evaluation are seen to be at work is that of ‘reality television’. The very wide range of formats that have been placed within this category, some less easily than others, has produced a major fracture line in thinking about quality, purpose

in Theorising Media
Shérazade and other women in the work of Leïla Sebbar
Margaret A. Majumdar

pride of place to their children’s pictures on the sideboard, it affirms their confidence in their children as investments in the family’s future. When there is a rupture between the generations, however, the photograph of the delinquent child acquires a special significance. The photograph of a young person who has run away from home assumes a new function: it acts at some level as a substitute for the missing child. Thus when Shérazade’s mother sees a blown–up portrait of her daughter on the filmset from which she has absented herself, she responds by equating the

in Women’s writing in contemporary France
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Sarah Wright

. The films of Rocío Durcal, Ana Belén, Pili and Mili and Estrellita will serve as counterpoint to her tale from innocence to coming of age as she continues to make films in the period of destape in the freedoms of the 1970s. Chapter 3 begins with Víctor Erice’s El espíritu de la colmena and works through cinematic memories of this film in later works such as El laberinto del fauno, El orfanato and El espinazo del diablo. The films are seen to gesture towards the imaginary creation of a missing child. This missing child is prescient of the recent revelations and

in The child in Spanish cinema
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Haunting and community
Deborah Martin

of the tropes of post-dictatorship Argentine culture, but in a way that does not allow a simple or a univocal histor­ ical meaning. Vero is the obvious ‘perpetrator’ yet after the accident she also plays the role of a traumatised victim. There are hints of a fixation on the missing child, attempts at working through the trauma through renewed contact with substitutes (for example, the offering of clothes and food to young boys who come to the house), and when Vero dyes her hair from blonde to dark brown there is a suggestion not only of the covering up of a crime

in The cinema of Lucrecia Martel
Superficial paganism and false ecology in The Wicker Man
William Hughes

clues scattered gleefully around for Howie’s benefit – the obviously missing photograph in the bar of the Green Man, the broken fruit boxes and rotting apples left in the desecrated kirk, the alternating denials and acknowledgements of the missing child’s existence received from the idlers at the harbour, from Rowan’s mother, sister, schoolfellows and teacher, and the island’s doctor and Registrar, all

in Ecogothic