Bulletin of Spanish Visual Studies最新文献

{"title":"Uruguayan Masculinities in Álvaro Brechner’s Buddy Films Mal día para pescar and Mr Kaplan","authors":"C. Rocha","doi":"10.1080/24741604.2021.1938455","DOIUrl":"https://doi.org/10.1080/24741604.2021.1938455","url":null,"abstract":"Abstract In less than ten years, Álvaro Brechner made three films that garnered numerous awards and invitations to film festivals around the world. In this article, I analyse Mal día para pescar (2009) and Mr Kaplan (2014) as ‘buddy films’ in which the stamina and values of older men are put to the test. I suggest that what unites the buddies in these films is their difference, which complements their loss of power due to due to their age. The aging characters in these films face the choice of either being heroic or losing their moral values.","PeriodicalId":37212,"journal":{"name":"Bulletin of Spanish Visual Studies","volume":"6 1","pages":"25 - 43"},"PeriodicalIF":0.0,"publicationDate":"2021-08-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47836229","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Annual Index, Volume V (2021)","authors":"S. Belenguer, J. Rothwell","doi":"10.1080/24741604.2021.1951050","DOIUrl":"https://doi.org/10.1080/24741604.2021.1951050","url":null,"abstract":"BAYÓ BELENGUER, SUSANA & ROTHWELL, JENNIE, Introduction: The Female Imagination in Spanish Theatre and Cinema (in The Female Imagination in Spanish Theatre and Cinema, ed. Susana Bayó Belenguer & Jennie Rothwell), 189–216. DAVIES, RHIAN, Hidden Secrets, Utopias, Ghosts and the Hispanic Periphery in Los abrazos rotos (2009): Pedro Almodóvar’s Homage to Lanzarote and César Manrique, 31–60. FARRELLY, MARY, Seen and Unseen: Women, Spirituality and the Gaze on the Spanish Stage and Screen (in The Female Imagination in Spanish Theatre and Cinema, ed. Susana Bayó Belenguer & Jennie Rothwell), 325–45. FRASER, BENJAMIN, El ingenio visual de Miguel Noguera: el noveno arte vs la literatura en el cómic ‘Camilo José Cela’ (2010), 111–33. GONZÁLEZ DE CANALES CARCERENY, JÚLIA, La obra fílmica de Lucrecia Martel, Paz Encina y Tatiana Huezo a la luz del actual cine poético latinoamericano: una superación del Tercer Cine, 91–110. KEOWN, DOMINIC, When Gala met Colometa: Silvia Munt’s Documentary on the Dalinian Muse (in The Female Imagination in Spanish Theatre and Cinema, ed. Susana Bayó Belenguer & Jennie Rothwell), 217–33. LAVERY, JANE ELIZABETH, The Reception of Día de Muertos and Frida Kahlo and Their Reincarnations in the United Kingdom (2015–2020): A Question of Cultural Degeneration or Rejuvenation (Again!)?, 135–67. LEEN, CATHERINE, ShadowMen and Real Women: Shifting the Paradigms of the Chicana/o Family in Cherríe Moraga’s Shadow of a Man and Josefina López’s Real Women Have Curves (in The Female Imagination in Spanish Theatre and Cinema, ed. Susana Bayó Belenguer & Jennie Rothwell), 287–300. O’LEARY, CATHERINE, Tracing a Female History of the Theatre in Spain: From la nueva mujer moderna to the Backlash and Beyond (in The Female Imagination in Spanish Theatre and Cinema, ed. Susana Bayó Belenguer & Jennie Rothwell), 255–86. PARÍS-HUESCA, EVA, Let Us Not Forget: Female Agency and Historical (Dis)remembering in Patricia Ferreira’s Film Sé quién eres (in The Female Imagination in Spanish Theatre and Cinema, ed. Susana Bayó Belenguer & Jennie Rothwell), 301–23. PEÑA ARDID, CARMEN, De tu ventana a la mía (Paula Ortiz, 2011): genealogías femeninas en la trama de la cultura (in The Female Imagination in Spanish Theatre and Cinema, ed. Susana Bayó Belenguer & Jennie Rothwell), 347–65. *ROJINSKY, DAVID, Reconciling Myth with Photographic Histories in Leandro Katz’s El día que me quieras, 1–30. ROTHWELL, JENNIE, see Bayó Belenguer, Susana. SALMON, KATIE, Shame and Eviction in Juan Miguel del Castillo’s Techo y comida (2015), 61–89. TURC-ZINOPOULOS, SYLVIE, Rosario de Acuña: el teatro y la madre-patriota en La voz de la patria (1893) (in The Female Imagination in Spanish Theatre and Cinema, ed. Susana Bayó Belenguer & Jennie Rothwell), 235–54.","PeriodicalId":37212,"journal":{"name":"Bulletin of Spanish Visual Studies","volume":"5 1","pages":"367 - 368"},"PeriodicalIF":0.0,"publicationDate":"2021-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/24741604.2021.1951050","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45787387","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Tracing a Female History of the Theatre in Spain: From la nueva mujer moderna to the Backlash and Beyond","authors":"Catherine O’Leary","doi":"10.1080/24741604.2021.1925441","DOIUrl":"https://doi.org/10.1080/24741604.2021.1925441","url":null,"abstract":"Abstract The history of women in the Spanish theatre from the early twentieth century to today not only reflects the evolution of the stage, but also charts the social and political transformation of Spain. Despite their absence from many anthologies and histories, it is evident that women played a significant and innovative role in the theatre. Offering a panoramic view of women in the Spanish theatre, this article observes certain patterns in their theatrical practice and choice of themes. In addition, it highlights the reception of their plays and, in particular, their interactions with the State at the level of censorship.","PeriodicalId":37212,"journal":{"name":"Bulletin of Spanish Visual Studies","volume":"5 1","pages":"255 - 286"},"PeriodicalIF":0.0,"publicationDate":"2021-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/24741604.2021.1925441","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45670469","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Introduction The Female Imagination in Spanish Theatre and Cinema","authors":"Susana Bayó Belenguer, J. Rothwell","doi":"10.1080/24741604.2021.1878746","DOIUrl":"https://doi.org/10.1080/24741604.2021.1878746","url":null,"abstract":"Abstract As the articles in this Special Issue are located in Hispanic theatre and cinema, this Introduction takes as its central theme the very live concerns of gender parity within those industries. Allowing professionals to speak for themselves, and calling on research findings, it overviews organizations, initiatives and technological innovations that are together offering hopeful signs of an emerging balance of influence between men and women in these important professional and social fields of challenge and opportunity.","PeriodicalId":37212,"journal":{"name":"Bulletin of Spanish Visual Studies","volume":"5 1","pages":"189 - 216"},"PeriodicalIF":0.0,"publicationDate":"2021-03-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/24741604.2021.1878746","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45526009","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"When Gala met Colometa: Silvia Munt’s Documentary on the Dalinian Muse","authors":"D. Keown","doi":"10.1080/24741604.2021.1880203","DOIUrl":"https://doi.org/10.1080/24741604.2021.1880203","url":null,"abstract":"Abstract As Colometa, folk-heroine of Rodoreda’s La plaça del Diamant brought to the screen in 1982 by Francesc Betriu, Silvia Munt became typecast as Catalonia’s downtrodden girl next door. So it is not surprising that, as director, the subject of her 2003 documentary should be the complete antithesis: Dalí’s irrepressible and empowered muse, Gala. In this essay, Munt not only offers a defence of this vamp, sphynx and scarlet-lady—as imagined biographically by the insecure male psyche—but offers an alternative role model for Catalan women and, with appreciable expertise in the documentary mode, offers a re-definition of Catalan national cinema.","PeriodicalId":37212,"journal":{"name":"Bulletin of Spanish Visual Studies","volume":"5 1","pages":"217 - 233"},"PeriodicalIF":0.0,"publicationDate":"2021-03-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/24741604.2021.1880203","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46127314","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Rosario de Acuña: el teatro y la madre-patriota en La voz de la patria (1893)","authors":"Sylvie Turc-Zinopoulos","doi":"10.1080/24741604.2021.1873608","DOIUrl":"https://doi.org/10.1080/24741604.2021.1873608","url":null,"abstract":"Abstract La crítica se ha despreocupado de La voz de la patria (1893), drama en un acto y en verso de Rosario de Acuña. Sin embargo, si a primera vista esta pieza parece meramente propagandística en un contexto de guerra, una segunda lectura pone énfasis en la promoción de la madre ideal, la madre-patriota que se opone a la madre castrante desde una visión dicotómica. Para movilizar a los españoles, la autora se convierte en mujer de teatro en el sentido pleno de la palabra. Tales serán los temas que abordaremos en esta obrita algo minusvalorada de Rosario de Acuña.","PeriodicalId":37212,"journal":{"name":"Bulletin of Spanish Visual Studies","volume":"5 1","pages":"235 - 254"},"PeriodicalIF":0.0,"publicationDate":"2021-03-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/24741604.2021.1873608","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42364964","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"De tu ventana a la mía (Paula Ortiz, 2011): genealogías femeninas en la trama de la cultura","authors":"Carmen Peña Ardid","doi":"10.1080/24741604.2021.1873640","DOIUrl":"https://doi.org/10.1080/24741604.2021.1873640","url":null,"abstract":"Abstract Este artículo examina cómo en De tu ventana a la mía/Chrysallis la opción estética de Paula Ortiz trasciende la representación realista a través del mito y la estilización simbólica. Contribuye a ello el apoyo en múltiples referentes culturales (pictóricos, literarios, cinematográficos) que adensan el sentido en su puesta en escena y en su construcción narrativa. Al narrar de forma convergente tres historias de (des)amor, desengaño y resistencia, la película crea convergencias que configuran una genealogía femenina de mujeres invisibles, sin historia, que avanzan no obstante de la sumisión a la emancipación para reclamar su lugar como sujetos de la Historia.","PeriodicalId":37212,"journal":{"name":"Bulletin of Spanish Visual Studies","volume":"5 1","pages":"347 - 365"},"PeriodicalIF":0.0,"publicationDate":"2021-03-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/24741604.2021.1873640","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47539259","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Let Us Not Forget: Female Agency and Historical (Dis)remembering in Patricia Ferreira’s Film Sé quién eres","authors":"Eva París-Huesca","doi":"10.1080/24741604.2021.1873619","DOIUrl":"https://doi.org/10.1080/24741604.2021.1873619","url":null,"abstract":"Abstract Neo-noir has been employed since the end of the Franco regime to explore Spain’s dark and turbulent history. This article focuses on Patricia Ferreira’s film Sé quién eres (2000), where she transforms the genre of neo-noir into a vehicle of female empowerment and a powerful tool for societal critique. With a daring approach, Ferreira uses the lens of gender to explore the ‘politics of memory’ in Spain, questioning the validity of the official discourse surrounding the supposed peaceful process of the Spanish Transition, while giving the female subject a privileged role in the process of historical revisionism.","PeriodicalId":37212,"journal":{"name":"Bulletin of Spanish Visual Studies","volume":"5 1","pages":"301 - 323"},"PeriodicalIF":0.0,"publicationDate":"2021-03-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/24741604.2021.1873619","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43043511","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Shadow Men and Real Women: Shifting the Paradigms of the Chicana/o Family in Cherríe Moraga’s Shadow of a Man and Josefina López’s Real Women Have Curves","authors":"Catherine Leen","doi":"10.1080/24741604.2021.1873661","DOIUrl":"https://doi.org/10.1080/24741604.2021.1873661","url":null,"abstract":"Abstract The works studied here illuminate the repression of Chicana/o women through their focus on family gender divisions. Hailed by Chicano writers as the bedrock of Chicana/o society and a refuge from the racism of US society, the family is re-imagined in these works and in the film based on López’s play. Although these works received very different critical analyses, I argue that they have much in common. I propose that rather than rejecting the family, they offer new role models to Chicanas that allow for fluid sexual identities and the pursuit of goals that do not accord with Mexican tradition.","PeriodicalId":37212,"journal":{"name":"Bulletin of Spanish Visual Studies","volume":"5 1","pages":"287 - 300"},"PeriodicalIF":0.0,"publicationDate":"2021-03-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/24741604.2021.1873661","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47831042","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Seen and Unseen: Women, Spirituality and the Gaze on the Spanish Stage and Screen","authors":"M. Farrelly","doi":"10.1080/24741604.2021.1873587","DOIUrl":"https://doi.org/10.1080/24741604.2021.1873587","url":null,"abstract":"Abstract Drawing from Jean-Luc Marion’s discussion of the ‘crossing of gazes’ in religious art, this article explores the complex relationship between the spectacle of the religious experience and its spectators, as well as that spectacle’s highly gendered nature. In contrast to earlier representations of religious women on stage and screen, the performances of feminine spirituality in Javier Ambrossi and Javier Calvo’s 2013 musical La llamada and Chema Tena’s 2017 production of Argentine playwright María Marull’s La Pilarcita centre female spiritual experience and further the self-actualization of the characters, confounding the scopic regimes that governed earlier productions.","PeriodicalId":37212,"journal":{"name":"Bulletin of Spanish Visual Studies","volume":"5 1","pages":"325 - 345"},"PeriodicalIF":0.0,"publicationDate":"2021-03-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/24741604.2021.1873587","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42564862","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}