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Objetivos transnacionales: El cine español del nuevo milenio
Get PDFAlthough transnationality as a phenomenon is as old as film, the contemporary reflection on this topic and the plurality of approaches that converge on it have opened new lines of analysis to evaluate the impact that this reality exerts on the film industry. My intention in this study is to propose a typology that reflects the impact of transnationality in the specific case of Spanish film to explore the dynamics that control our cinematic production in the third millennium. I propose six segments to structure my approach to the Spanish film industry: 1. Production modes; 2. Transnational subjects; 3. Aesthetic registers; 4. Themes; 5. Ethics and ideology; 6. Critical and moviegoer reception. Within this framework, I will explore the dialectics between the national essence of Spanish film and its transnationality, the impact of different financial models, the multidirectional movements of our actors and directors, esthetic influences, the ethics of the industry and the response of critics and viewers to a film industry that swings between preserving and erasing its identity markers.Si bien la transnacionalidad del cine es casi tan vieja como el cine mismo, la reflexión actual sobre esta cuestión y la pluralidad de vectores que convergen en ella, han abierto nuevas vías de análisis para aquilatar el impacto que esta realidad ejerce en la industria fílmica. Mi intención en este estudio es proponer una tipología que conecte el concepto de transnacionalidad con el caso concreto del cine español para ayudar a dilucidar la mecánica que rige el presente de nuestra producción cinematográfica. Estableceré para ello seis segmentos a partir de los cuales se estructurará mi acercamiento: 1-Modos de producción, 2-sujetos transnacionales, 3-registros estéticos, 4-repertorio temático, 5-componente ético e ideológico y 6- recepción crítica y espectatorial. Dentro de este marco conceptual exploraré la dialéctica entre la esencia nacional del cine español y su transnacionalidad, el impacto de los modelos de financiación en el proceso de creación, los movimientos multidireccionales de nuestros actores y directores, las influencias estéticas que atraviesan el cine español actual, las reflexiones a nivel ético derivadas de los condicionantes de la industria y las respuestas de la crítica y del público, tanto en España como en otros países, a un cine que se debate entre subrayar y diluir sus marcadores identitarios
La guerre est finie y/o ¿La guerra ha terminado?: el filme de A. Resnais y Jorge Semprún y el papel que desempeña en la exposición permanente en el Centro de Arte Reina Sofía
No full textThis article analyzes the ambiguity in the film La guerre est finie ([The War Is Over] 1966, director Alain Resnais, screenwriter Jorge Semprún) whose declarative title becomes a question in the title of the permanent exhibit at the Reina Sofía National Museum in Madrid: Is the War Over? Art in a Divided World (1945-1968). The works invite the viewer to question the nationalism that catapulted the Spanish Civil War, whose victory marked the first triumph for European fascisms and concomitant genocides. While the film entirely lacks symbols of irrefutable national identity, the paintings incorporate and subvert certain icons of (regional, Francoist, Nazi or Fascist) nationalism, as well as emblems of the Spanish Republic and Spain. The artworks respond in theme and form to nationalist ideology and esthetics. Although the film whose screenwriter Jorge Semprún had been imprisoned in the Nazi camp at Buchenwald—limits itself to implicit allusions to the eradication of the domestic enemy on Iberian soil and the so-called stateless undesirables exiled in foreign lands, the exhibit explicitly references Nazism and other 20th-century genocides. The collection of works exemplifies Aharon Appelfeld’s assertion: that only art has the ability to redeem suffering from the abyss. The film and the plastic works respond not only to nationalist ideologies and concomitant lived and witnessed experiences, but also to nationalist art. Through the visual counternarratives that give voice to myriad victimizations, these works make manifest and denounce, in theme and form, the anti-intellectualization and the fervent sentiment of political zeal.This article analyzes the ambiguity in the film La guerre est finie ([The War Is Over] 1966, director Alain Resnais, screenwriter Jorge Semprún) whose declarative title becomes a question in the title of the permanent exhibit at the Reina Sofía National Museum in Madrid: Is the War Over? Art in a Divided World (1945-1968). The works invite the viewer to question the nationalism that catapulted the Spanish Civil War, whose victory marked the first triumph for European fascisms and concomitant genocides. While the film entirely lacks symbols of irrefutable national identity, the paintings incorporate and subvert certain icons of (regional, Francoist, Nazi or Fascist) nationalism, as well as emblems of the Spanish Republic and Spain. The artworks respond in theme and form to nationalist ideology and esthetics. Although the film whose screenwriter Jorge Semprún had been imprisoned in the Nazi camp at Buchenwald—limits itself to implicit allusions to the eradication of the domestic enemy on Iberian soil and the so-called stateless undesirables exiled in foreign lands, the exhibit explicitly references Nazism and other 20th-century genocides. The collection of works exemplifies Aharon Appelfeld’s assertion: that only art has the ability to redeem suffering from the abyss. The film and the plastic works respond not only to nationalist ideologies and concomitant lived and witnessed experiences, but also to nationalist art. Through the visual counternarratives that give voice to myriad victimizations, these works make manifest and denounce, in theme and form, the anti-intellectualization and the fervent sentiment of political zeal
Mesa redonda con los directores de cine Juan Carlos Valdivia, Celina Murga, Mariana Chenillo, Carlos Marqués-Marcet, Javier Corcuera y Gabriela Martínez Escobar
No full textA lo largo de 25 años del congreso académico Cine-Lit, que arranca en 1991 auspiciado por varias universidades de Oregón con fuertes vínculos con el Festival Internacional de Cine de Portland, Oregón, la Mesa redonda con directores de cine, todos auteurs, tanto españoles como latinoamericanos, viene siendo el broche de oro de varios días de ponencias eruditas y proyecciones de películas de habla española. Para Cine-Lit 8 (2015) nos tocó en suerte presenciar una de las Mesas redondas más ricas de todas. Abajo se reproduce esta conversación en la que hablan seis directores de cine acerca de problemas de globalización, financiamiento de la producción cinematográfica en sus respectivos países y la distribución de sus películas tanto nacional como internacional. Directores: Carlos Marqués-Marcet; Gabriela Martínez Escobar; Celina Murga; Piratería; Televisión; Juan Carlos Valdivia. Moderador: Jaume Martí-Olivella.A lo largo de 25 años del congreso académico Cine-Lit, que arranca en 1991 auspiciado por varias universidades de Oregón con fuertes vínculos con el Festival Internacional de Cine de Portland, Oregón, la Mesa redonda con directores de cine, todos auteurs, tanto españoles como latinoamericanos, viene siendo el broche de oro de varios días de ponencias eruditas y proyecciones de películas de habla española. Para Cine-Lit 8 (2015) nos tocó en suerte presenciar una de las Mesas redondas más ricas de todas. Abajo se reproduce esta conversación en la que hablan seis directores de cine acerca de problemas de globalización, financiamiento de la producción cinematográfica en sus respectivos países y la distribución de sus películas tanto nacional como internacional. Directores: Carlos Marqués-Marcet; Gabriela Martínez Escobar; Celina Murga; Piratería; Televisión; Juan Carlos Valdivia. Moderador: Jaume Martí-Olivella
Personal Ornaments in Prehistory: An Exploration of Body Augmentation from the Palaeolithic to the Early Bronze Age, by Emma L. Baysal (2019)
Get PDFThe Hunt for Digital Oregon Documents: Building and Populating the Oregon Government Publications Digital Collection
Get PDFWhen the Oregon Documents Depository Program (OrDocs) began in 1907, the only way to access an Oregon state government publication was to get a paper copy. The OrDocs program distributed (and still distributes) state government documents to designated depository libraries around the state, enhancing government transparency and citizen engagement.
By the end of the century, however, it was obvious that the old model was no longer sufficient. The internet was becoming an additional avenue, if not the only avenue, for the dissemination of state government information. Libraries nationwide, including the State Library of Oregon (then known as the Oregon State Library), were looking for solutions to the problem of collecting digital documents.
By the early 2000s, the State Library, working with the Department of Administrative Services, OrDocs depository libraries, and the Documents Interest Group of Oregon, had begun planning a way to collect digital OrDocs. The culmination of this effort, in 2006, was the passage of House Bill 2118. The bill required state agencies to provide digital copies of their publications to the State Library, regardless of whether the publications were available online or not (Hulshof-Schmidt, 2006, p. 7).
Note: A new version of this article was posted on Nov. 6, 2020, to include the author's updated State Library of Oregon email address
Introduction
Get PDFThis special issue of Periphērica, Image and Storytelling: New Approaches to Hispanic Cinema and Literature, features leading research by scholars of Hispanic cultures at the crossroads of literature, film, mind, and society. The collection showcases cutting-edge fields and themes including cognitive studies, affect studies, embodiment, and empathy, as well as new perspectives on adaptation, film typology, film teaching, gender, and genre. The research presented in this special issue underscores the excitement produced by crossing disciplinary boundaries in the study of verbal and visual narratives, moving beyond prevalent transnational approaches that do not sufficiently address key factors in the creation and reception of film narratives such as historical-sociological contexts, affective dynamics, psychological responses, and gender variables. The contributors include scholars whose professional and social relationships to the history, practices, and evolution of the moving image and new media vary widely, broaching a diversity of theories and methodologies and presenting readers with a comprehensive and innovative perspective on film art and the relationship between filmmakers, films, spectators, and contexts
Teaching Representations of Resistance and Repression in Popular Spanish Film
Get PDFThis essay presents a brief analysis of three popular Spanish films released between 2001 and 2012 that are set in the immediate post Civil War period and first decades of the Franco dictatorship. Specifically, it considers three films which aim to reconstruct and represent the experience of the men, women, and children who fought Francoism or who endured repression after the end of the Spanish Civil War: Silencio roto (Armendáriz 2001), El laberinto del fauno (Del Toro 2004), and 30 años de oscuridad (Martín 2012). This essay explores the way in which tropes of politics, history, resistance, and repression are represented in each film, and how filmmakers using popular cinematic forms have appropriated the Spanish Civil War and Franco period settings to comment on contemporary political and social issues in Spain. Most of the recent Spanish cinematic productions (fictional and documentary) that depict the Spanish Civil War and Franco period have focused on the moral vindication of the vanquished. The three films considered here aim to reconstruct the particular experience or memories of the Spanish maquis and topos, and the civilians who supported them in their struggles. Each of the films discussed has sought to play a role in the recasting of collective identity in Spain, and affords important insights into the social processes and experiences of the time in which they were created. In a world where the visual immediacy of cinematic images increasingly works to displace traditional historiography, these representations have become ever more important and merit discussion. This essay takes into account that these cinematic representations are subjective and mediated depictions of events, participants, and circumstances of the Civil War and Franco period, and suggests pedagogical approaches to discussing each film in order to enable students (and other viewers) to grasp how to distinguish between history and the historicizing effect of its representations.Este ensayo presenta un breve análisis de tres películas españolas populares estrenadas entre 2001 y 2012 que se desarrollan en el período inmediatamente después de la Guerra Civil española y las primeras décadas de la dictadura franquista. En concreto, considera tres películas que pretenden reconstruir y representar la experiencia de los hombres, mujeres y niños que lucharon contra el franquismo o que sufrieron la represión tras el fin de la Guerra Civil española: Silencio roto (Armendáriz 2001), El laberinto del fauno (Del Toro 2004) y 30 años de oscuridad (Martín 2012). El ensayo explora la forma en que los tropos de la política, la historia, la resistencia y la represión están representados en cada película, y cómo los cineastas que utilizan formas cinematográficas populares se han apropiado de los escenarios de la Guerra Civil española y el período de Franco para comentar sobre cuestiones políticas y sociales contemporáneas en España. La mayoría de las últimas producciones cinematográficas españolas (ficción y documental) que retratan la Guerra Civil española y el período franquista se han centrado en la reivindicación moral de los vencidos. Las tres películas aquí consideradas tienen como objetivo común reconstruir la experiencia o los recuerdos particulares de los maquis y topos españoles, y de los civiles que los apoyaron en sus luchas. Cada una de las películas comentadas ha buscado desempeñar la refundición de la identidad colectiva en España y aporta importantes conocimientos sobre los procesos sociales y las experiencias de la época en que fueron creadas. En un mundo donde la inmediatez visual de las imágenes cinematográficas trabaja cada vez más para desplazar a la historiografía tradicional, estas representaciones se han vuelto cada vez más importantes y merecen discusión. Este ensayo toma en cuenta que estas representaciones cinematográficas son representaciones subjetivas y mediadas de eventos, participantes y circunstancias de la Guerra Civil y el período de Franco, y sugiere enfoques pedagógicos para discutir cada película a fin de que los estudiantes (y otros espectadores) comprendan cómo distinguir entre la historia y el efecto historizante de sus representaciones
Para gustos, los colores. El matizado mundo delirante de los géneros: la ‘patergaynidad’ en otro tipo de familia en Azul y no tan rosa de Miguel Ferrari
Get PDFBlue and Not So Pink (2012), created by Miguel Ferrari as director and screenwriter, received innumerable positive and negative critiques. In spite of the negative evaluations, the film managed to become a great box office success in Venezuela and in 2013 obtained the Goya Award for the best Spanish American film.
This study will analyze the film’s most significant themes; that is, that the consideration of human diversity as an element should be accepted in our societies, the possibility of giving voice to persons who suffer discrimination and the issue of self-acceptance. The notion that the film proposes that there should be other types of families in our societies will be considered: families with gay parents, those with only one parent, and therefore, families that are formed with no blood relationship whatsoever. The trajectory of the main characters within parameters that are juxtaposed and, at the same time, complement each other will be observed—the private and public world, the social sphere and the familial one. Consequently, the transformation that occursin the family unit to include more unbiased parental rights for homosexuals and transexuals in the formation of a new kind of family core will likewise beexamined.
By way of conclusion, it will be observed how the musical diversity of the film is developed intradiegetically to support gender diversity, as well as an examination of the concept of gender within heterocentric society and the way in which relationships of homosexual couples and transgender couples challenge patriarchal society and the dichotomous, binary system it adopted.El primer largometraje, Azul y no tan rosa (2012), de Miguel Ferrari como director y guionista recibió innumerables críticas positivas y negativas. A pesar de las evaluaciones negativas, la película alcanzó tener un gran éxito de taquilla en Venezuela y obtuvo en 2013 el Goya de mejor película hispanoamericana. Este estudio analizará la temática de mayor peso de la película; es decir, la de considerar la diversidad humana como un elemento que debe de ser aceptado en nuestras sociedades, la posibilidad de dar voz a seres discriminados y la cuestión de la auto aceptación. Se considerará que la película postula la consideración que deberían de tener otros tipos de familia en nuestras sociedades: familias homoparentales y familias monoparentales, y por ende, familias que no se forman por medio de una relación sanguínea. Se observará la trayectoria de los personajes principales dentro de parámetros que se yuxtaponen y al mismo tiempo se complementan—el mundo privado y el público, la esfera social y la familiar. Se estudiará, por lo tanto, la transformación que ocurre en la célula de la familia para incluir derechos parentales más ecuánimes para los homosexuales y transexuales en la formación de un nuevo tipo de seno familiar. A título de conclusión, se planteará cómo la diversidad musical del film se desarrolla intradiegéticamente para apoyar la diversidad de género y se examinará el concepto de género dentro de la sociedad heterocéntrica y la manera en que las relaciones de parejas homosexuales y el transgenerismo desafían la sociedad patriarcal, el sistema dicotómico y binario adoptado
The Federal Depository Library Program Regional Collection in Oregon: Shifting Roles in Access and Preservation of U.S. Government Publications
Get PDFThis article explores the history of the FDLP Regional Collection in Oregon libraries. It covers the origin and evolution of the collection which is currently managed by the State Library of Oregon by way of shared housing agreements. The transition away from print-based to digital access points to a shift in role for the collection, with more emphasis on long-term preservation. This shift prompts an examination of options for improving the management of the collection.
Note: A new version of this article was posted on Nov. 6, 2020, to include the author's updated State Library of Oregon email address
