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Et l’Espagne frémit de peur. L’âge d’or du cinéma d’horreur ibérique à la fin du franquisme (1968–1976)
No full textIn the present article, the author discusses the ideology in some Spanish horror movies made between 1968 and 1976, during the last years of the dictatorship of Francisco Franco. The Spanish horror production, also called fantaterror, seems to be an indicator of the problematics of Spanish society. Indeed, it seems that the outbreaks of violence and eroticism of these films relate to the double face of the last years of the dictatorship, that of hedonism and of the repression of desires. By examining the specific aesthetic of the fanta‑terror and its narrative duality between Good and Evil, we want to show that behind the apparent entertainment these movies are inherently shaped by Franco’s regime. They deserve to be evaluated in terms of political, economic and cultural conditions in which they were created.
Key words: horror movies, fantasy, Spain, Franco’s dictatorship, ideology in fil
Et l’Espagne frémit de peur. L’âge d’or du cinéma d’horreur ibérique à la fin du franquisme (1968–1976)
Get PDFIn the present article, the author discusses the ideology in some Spanish horror movies made between 1968 and 1976, during the last years of the dictatorship of Francisco Franco. The Spanish horror production, also called fantaterror, seems to be an indicator of the problematics of Spanish society. Indeed, it seems that the outbreaks of violence and eroticism of these films relate to the double face of the last years of the dictatorship, that of hedonism and of the repression of desires. By examining the specific aesthetic of the fanta‑terror and its narrative duality between Good and Evil, we want to show that behind the apparent entertainment these movies are inherently shaped by Franco’s regime. They deserve to be evaluated in terms of political, economic and cultural conditions in which they were created.Key words: horror movies, fantasy, Spain, Franco’s dictatorship, ideology in fil
Going Beyond Counting First Authors in Author Co-citation Analysis
Get PDFThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Variations on the Author
Get PDF“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
Appropriate Similarity Measures for Author Cocitation Analysis
Get PDFWe provide a number of new insights into the methodological discussion about author cocitation analysis. We first argue that the use of the Pearson correlation for measuring the similarity between authors’ cocitation profiles is not very satisfactory. We then discuss what kind of similarity measures may be used as an alternative to the Pearson correlation. We consider three similarity measures in particular. One is the well-known cosine. The other two similarity measures have not been used before in the bibliometric literature. Finally, we show by means of an example that our findings have a high practical relevance.information science;Pearson correlation;cosine;similarity measure;author cocitation analysis
Dispelling the Myths Behind First-author Citation Counts
Get PDFWe conducted a full-scale evaluative citation analysis study of scholars in the XML research field to explore just how different from each other author rankings resulting from different citation counting methods actually are, and to demonstrate the capability of emerging data and tools on the Web in supporting more realistic citation counting methods. Our results contest some common arguments for the continued
use of first-author citation counts in the evaluation of scholars, such as high correlations between author rankings by first-author citation counts and other citation
counting methods, and high costs of using more realistic citation counting methods that are not well-supported by the ISI databases. It is argued that increasingly available digital full text research papers make it possible for citation analysis studies to go beyond what the ISI databases have directly supported and to employ more
sophisticated methods
koamabayili/VECTRON-author-checklist: VECTRON author checklist
No full textWe have done our best to complete the author checklist relating to the use of animals in the hut study. Note that the objective for the hut study was to evaluate the IRS treatment applications for residual efficacy against Anopheles mosquitoes, including the local An. coluzzii mosquito population. Cows were only used to attract mosquitoes into the huts and no tests were carried out directly on the cows. The author checklist is intended for use with studies where experiments are carried out on animals, which is why we have had such difficulty in completing this for the hut study, as many of the questions do not relate to how the cows were used
The «fantaterror», or the golden age of Spanish fantasy and horror cinema under late Franco (1968-1976)
No full textL’Espagne ne développe une production cinématographique fantastique et horrifique que tardivement, à partir de 1968. La fin de la dictature franquiste, marquée par une ouverture sur le monde et un contrôle toujours aussi répressif, semble façonner les contours de ce cinéma alternatif. Le cinéma fantastique et horrifique, genre très codifié, permet à des artistes de s’exprimer via le recours à des procédés visuels ou narratifs, des figures incontournables ou inédites, et ce malgré la censure franquiste. Avec près de trois cents films d’horreur en moins de dix ans, l’Espagne devient l’un des plus importants viviers de cinéma de genre au cours des années 1970, rapidement identifiable par ses vedettes et ses caractéristiques formelles. S’il n’est pas toujours évident de distinguer un film d’horreur espagnol d’un film d’horreur italien de la même époque, plusieurs traits distinctifs permettent de voir dans cette production un courant singulier. L’âge d’or de ce cinéma d’horreur ibérique, appelé «fantaterror » pour son hybridation du fantastique et de l’horreur, est ainsi une production ambivalente dans son discours comme dans sa forme. Il convient ainsi de mettre en relation ces films avec le contexte socio-politique dans lequel ils sont produits pour mesurer l’ampleur de la transgression que peut représenter ce genre. Les limites imposées par la censure et l’obligation d’aller toujours plus loin dans la violence et l’érotisme pour concurrencer les films étrangers plus libéraux ont façonné le fantaterror, courant éphémère qui a connu un succès populaire mais a en même temps fait l’objet de toutes les condamnations par la critique officielle et les institutions franquistes.Spain developed a fantastic and horrific film production only belatedly, from 1968 onwards. The end of the dictatorship, marked by an openness to the world and an ever- repressive control, seems to shape the outlines of this alternative cinema. The fantastic and horrific cinema, a very codified genre, allows artists to express themselves through the use of visual or narrative methods, unavoidable or new figures, despite the censorship. With almost three hundred horror films in less than ten years, Spain became one of the most important breeding grounds of exploitation films in the 1970s, quickly identifiable by its stars and its formal characteristics. While it is not always easy to distinguish a Spanish horror film from an Italian horror film of the same period, several distinctive features make it possible to see a singular current in this production. The golden age of this Spanish horror cinema, called « fantaterror »for its hybridization of fantasy and horror, is thus an ambivalent production in its discourse as in its form. It is thus necessary to relate these films to the socio-political context in which they are produced in order to measure the transgression that this genre can represent. The limits imposed by censorship and the obligation to go ever further in violence and eroticism in order to compete with more liberal foreign films have shaped the fantaterror, an ephemeral popular production which was the subject of all the condemnations by the official critic and the establishment
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