Manuel Garin
Pompeu Fabra University, Departament de Comunicació, Faculty Member
- Manuel Garin is Associate Professor in Film and Media Studies at Universitat Pompeu Fabra, Barcelona. He has been vis... moreManuel Garin is Associate Professor in Film and Media Studies at Universitat Pompeu Fabra, Barcelona. He has been visiting scholar at different institutions like the Tokyo University of The Arts, the University of Southern California and Columbia University, where he developed the comparative media projects "Gameplaygag: Between Silent Film and New Media" and "A Hundred Busters: Keaton Across The Arts", financed by public grants.
Author of the monograph "El gag visual. De Buster Keaton a Super Mario" (Cátedra, 2014), his research on cinema, art history and new media has been published in academic journals such as International Journal of Cultural Studies, Feminist Media Studies, Communication & Society, The Sixties, CJCS, L’Atalante or Comparative Cinema, and in books from Oxford University Press, MIT Press, Routledge, Amsterdam University Press, Palgrave, ABC-Clio, De Gruyter, Mimesis or Galaxia Gutenberg. As a cultural critic, he has written for magazines such as La Maleta de Portbou, Contrapicado, Caimán, or Cultura/s - La Vanguardia. Trained as a musician, he holds a Professional Degree in Piano and an MFA in Film Scoring from ESMUC Music School.
Currently, he is the PI of the research project "Football and Visual Culture under Francoism", financed by Ministerio de Ciencia e Innovación (PID2020-116277GA-I00) and based on the relations between sport, class, gender, and national identities in Spanish cinema and audiovisual media. He is also the Co-PI of a collaborative research project of engineers and art historians, financed by the María de Maeztu program, and focused on developing AI models capable of identifying and comparing visual motifs.edit
Research Interests: Aesthetics, Visual Studies, New Media, Film Studies, Comedy, and 19 moreLiterature, Humor, Literature and cinema, Visual Culture, Silent Film, Buster Keaton, Samuel Beckett, Screwball Comedy, Film History, Comparative Media Studies, Cinema, Commedia dell'arte, Film Aesthetics, Humor Studies, Film and Television Comedy, Irony, Slapstick, Comunicación Audiovisual, and Super Mario Bros.
Sport as a social and visual construct has come to occupy a central place in the lifestyles and media habits of contemporary societies, to the point that many authors consider it to be one of the critical symptoms of broader processes of... more
Sport as a social and visual construct has come to occupy a central place in the lifestyles and media habits of contemporary societies, to the point that many authors consider it to be one of the critical symptoms of broader processes of economic, geopolitical and cultural globalisation (Bale 1994, Carrington 2010, Critchley 2017). As far as images are concerned, there is an abundance of film and media productions dealing with sports figures, stories and locations that have had a big impact on the general public and on discussions about gender, racial and class identities. While live broadcasts and sports journalism have enjoyed hegemonic status for decades, in recent years there has also been an increasing number of film and media productions (biopics, docuseries, reality shows, fiction series, transmedia projects) filling the catalogues of online streaming services and generating discussion on social media. Norbert Elias’s historical theory of sport as a major force in the civilising process is being updated today in light of its absolutely central role in the contemporary process of “mediatisation”.
In this context, there is an urgent need to identify the audiovisual productions, icons and genres that have historically shaped or are currently shaping the social construct of sport in film, television and new media. To this end, as the football historian Jean Williams once pointed out, it is vital to establish forms of resistance and criticism that can update our understanding of sport from a gender studies perspective, placing the focus on how different women have written about, filmed, interpreted and documented sports through images. Despite the patriarchal dominance and highly masculinised attitude that still characterises the depiction of sports in the media today, film history offers case studies that can open up critical perspectives on the agency and representation of women in sport, ranging from the well-known case of Leni Riefenstahl and the German Bergfilme, or the iconographies of Soviet physical culture, to the various forms of indoctrination and uses of the female body during the Franco years in the NO-DO newsreels about the Sección Femenina, or the film-event Las Ibéricas F. C. A kind of gender performativity that transcends cinematic and geographical boundaries and extends into the present day can be traced in the work of European female actors and filmmakers such as Juliette Binoche and Céline Sciamma, emblematic works such as the Iranian film Offside and the American Million Dollar Baby, or the worldwide success of Bend It like Beckham, which the philosopher Sara Ahmed specifically analysed in her book The Promise of Happiness from the perspectives of race, queerness and feminism.
But beyond these and other examples from cinema, this issue is open to studies and proposals that address other audiovisual media and formats. These might include the connections between women and sport in TV series, the ways of depicting women’s sport in historical newsreels and in contemporary documentaries, or strategies for self-filming the body in motion via platforms such as YouTube, Instagram and TikTok. A series of audiovisual creation and consumption strategies that revolve around what Dick Tomasovic called kino-tanz, “the choreographic art of cinema” (2009), combining the moving image with the kinetics of dance, music and physical culture. In this way, based on a critical rereading of sports iconography, and more specifically of images created by or featuring women, this collection is open to a wide range of topics, approaches, and lines of research.
In this context, there is an urgent need to identify the audiovisual productions, icons and genres that have historically shaped or are currently shaping the social construct of sport in film, television and new media. To this end, as the football historian Jean Williams once pointed out, it is vital to establish forms of resistance and criticism that can update our understanding of sport from a gender studies perspective, placing the focus on how different women have written about, filmed, interpreted and documented sports through images. Despite the patriarchal dominance and highly masculinised attitude that still characterises the depiction of sports in the media today, film history offers case studies that can open up critical perspectives on the agency and representation of women in sport, ranging from the well-known case of Leni Riefenstahl and the German Bergfilme, or the iconographies of Soviet physical culture, to the various forms of indoctrination and uses of the female body during the Franco years in the NO-DO newsreels about the Sección Femenina, or the film-event Las Ibéricas F. C. A kind of gender performativity that transcends cinematic and geographical boundaries and extends into the present day can be traced in the work of European female actors and filmmakers such as Juliette Binoche and Céline Sciamma, emblematic works such as the Iranian film Offside and the American Million Dollar Baby, or the worldwide success of Bend It like Beckham, which the philosopher Sara Ahmed specifically analysed in her book The Promise of Happiness from the perspectives of race, queerness and feminism.
But beyond these and other examples from cinema, this issue is open to studies and proposals that address other audiovisual media and formats. These might include the connections between women and sport in TV series, the ways of depicting women’s sport in historical newsreels and in contemporary documentaries, or strategies for self-filming the body in motion via platforms such as YouTube, Instagram and TikTok. A series of audiovisual creation and consumption strategies that revolve around what Dick Tomasovic called kino-tanz, “the choreographic art of cinema” (2009), combining the moving image with the kinetics of dance, music and physical culture. In this way, based on a critical rereading of sports iconography, and more specifically of images created by or featuring women, this collection is open to a wide range of topics, approaches, and lines of research.
Research Interests:
El imaginario deportivo ha pasado a ocupar un lugar central en los modos de vida y los hábitos comunicativos de las sociedades contemporáneas, hasta el punto de que diversos autores consideran el deporte como uno de los síntomas... more
El imaginario deportivo ha pasado a ocupar un lugar central en los modos de vida y los hábitos comunicativos de las sociedades contemporáneas, hasta el punto de que diversos autores consideran el deporte como uno de los síntomas críticos de procesos de globalización económica, geopolítica y cultural más amplios (Bale 1994, Carrington 2010, Critchley 2017). En el ámbito de las imágenes, destaca la proliferación de obras audiovisuales focalizadas en personajes, historias y lugares clave del deporte, con una gran incidencia en la esfera pública y en los debates sobre identidades de género, raza y clase. Al rol hegemónico que las retransmisiones en directo y el periodismo deportivo tenían ya desde hace décadas, se ha sumado en los últimos años una escalada de producciones fílmicas y televisivas (biopics, docuseries, reality shows, series de ficción, transmedia) que pueblan el catálogo de los operadores de contenido online y generan debate público en las redes sociales. De modo que la teoría histórica de Norbert Elias sobre el deporte como gran cauce del proceso civilizador se ve actualizada por su absoluta centralidad en el proceso “mediatizador” actual.
En ese contexto, urge preguntarse sobre qué obras, figuras y géneros audiovisuales están ahora modelando, o modelaron históricamente, el imaginario deportivo en el cine, la televisión y los nuevos medios. Para ello, y como señaló en su día la historiadora del fútbol Jean Williams, resulta fundamental abrir vías de resistencia y denuncia que renueven la mirada sobre el deporte desde los estudios de género, poniendo el foco en cómo distintas mujeres han filmado, escrito, interpretado y documentado lo deportivo a través de sus imágenes. Pese al dominio patriarcal y altamente masculinizado que caracteriza, todavía hoy, al imaginario deportivo en los medios de comunicación, la historia del cine ofrece referentes que abren perspectivas críticas sobre la agencia y la representación de la mujer en el deporte, desde el conocido caso de los bergfilm alemanes y Leni Riefenstahl o las iconografías de la cultura física soviética, hasta los múltiples usos y adoctrinamientos del cuerpo femenino durante el franquismo en los NO-DOs sobre la Sección Femenina o la película-evento Las Ibéricas F. C. Una performatividad de género que trasciende fronteras fílmicas y geográficas, llegando hasta lo contemporáneo, como atestigua el trabajo de actrices y cineastas del contexto europeo como Juliette Binoche o Céline Sciamma, películas emblemáticas como la iraní Off-Side y la estadounidense Million Dollar Baby, o el éxito mundial de Quiero ser como Beckham, que la filósofa Sara Ahmed analizó en su libro The Promise of Happiness desde una triple perspectiva racial, queer y feminista.
Pero más allá de esos y otros ejemplos fílmicos, este monográfico se abre a investigaciones y propuestas que aborden distintos medios audiovisuales y formatos, ya sean las conexiones entre mujer y deporte en la serialidad televisiva, las formas de representación del deporte femenino en noticiarios históricos y en documentales contemporáneos, o las estrategias de autofilmación del cuerpo en movimiento a través de plataformas como YouTube, Instagram y TikTok. Una serie de prácticas de creación y consumo audiovisual que giran en torno a aquello que Dick Tomasovic denominó kino-tanz, "el arte coreográfico del cine" (2009), hermanando la imagen en movimiento con la cinética del baile, la música y la cultura física. Así, partiendo de una relectura crítica de la iconografía deportiva, y más concretamente de imágenes creadas o protagonizadas por mujeres, este monográfico contempla diversos temas, enfoques, y líneas de investigación.
En ese contexto, urge preguntarse sobre qué obras, figuras y géneros audiovisuales están ahora modelando, o modelaron históricamente, el imaginario deportivo en el cine, la televisión y los nuevos medios. Para ello, y como señaló en su día la historiadora del fútbol Jean Williams, resulta fundamental abrir vías de resistencia y denuncia que renueven la mirada sobre el deporte desde los estudios de género, poniendo el foco en cómo distintas mujeres han filmado, escrito, interpretado y documentado lo deportivo a través de sus imágenes. Pese al dominio patriarcal y altamente masculinizado que caracteriza, todavía hoy, al imaginario deportivo en los medios de comunicación, la historia del cine ofrece referentes que abren perspectivas críticas sobre la agencia y la representación de la mujer en el deporte, desde el conocido caso de los bergfilm alemanes y Leni Riefenstahl o las iconografías de la cultura física soviética, hasta los múltiples usos y adoctrinamientos del cuerpo femenino durante el franquismo en los NO-DOs sobre la Sección Femenina o la película-evento Las Ibéricas F. C. Una performatividad de género que trasciende fronteras fílmicas y geográficas, llegando hasta lo contemporáneo, como atestigua el trabajo de actrices y cineastas del contexto europeo como Juliette Binoche o Céline Sciamma, películas emblemáticas como la iraní Off-Side y la estadounidense Million Dollar Baby, o el éxito mundial de Quiero ser como Beckham, que la filósofa Sara Ahmed analizó en su libro The Promise of Happiness desde una triple perspectiva racial, queer y feminista.
Pero más allá de esos y otros ejemplos fílmicos, este monográfico se abre a investigaciones y propuestas que aborden distintos medios audiovisuales y formatos, ya sean las conexiones entre mujer y deporte en la serialidad televisiva, las formas de representación del deporte femenino en noticiarios históricos y en documentales contemporáneos, o las estrategias de autofilmación del cuerpo en movimiento a través de plataformas como YouTube, Instagram y TikTok. Una serie de prácticas de creación y consumo audiovisual que giran en torno a aquello que Dick Tomasovic denominó kino-tanz, "el arte coreográfico del cine" (2009), hermanando la imagen en movimiento con la cinética del baile, la música y la cultura física. Así, partiendo de una relectura crítica de la iconografía deportiva, y más concretamente de imágenes creadas o protagonizadas por mujeres, este monográfico contempla diversos temas, enfoques, y líneas de investigación.
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This article situates and prologues the special issue of L'Atalante "Women and sport in audiovisual media: bodies, images, politics", contextualizing its main themes and case studies as well as relating them, comparatively, with key... more
This article situates and prologues the special issue of L'Atalante "Women and sport in audiovisual media: bodies, images, politics", contextualizing its main themes and case studies as well as relating them, comparatively, with key visual precedents in the history of literature. By using two examples of literary ekphrasis where the practice of sport by women is central: on the one hand the heteropatriarchal, sexualized and objectifying portrayal of the woman's sporting body (exemplified by a chapter from the Chinese classic "Journey to the West"), on the other, the liberatory views and gazes of sportswomen that, like the poet Concha Méndez, defied the limits and impositions of the male gaze with their own explorations of sport and images. Moreover, the article rethinks Walter Benjamin's comments on the link between cinema and sport, and Susan Sontag's concept of the "market of images", reading both of them from the perspective of affect theory and Sara Ahmed's analysis of the class, race and gender signifiers of women-practiced sport in her book "The Promise of Happiness".
Research Interests: History, Sociology of Sport, Gender Studies, Communication, Art History, and 15 moreWomen's Studies, Feminist Theory, Film Studies, Photography, Literature and cinema, Culture, Archives, Feminism, Cinema, Visual Arts, Film and Media Studies, Sports, Audiovisual, Literatura española e hispanoamericana, and Medios de Comunicación
El presente artículo abre y prologa el número monográfico de la revista L'Atalante "Mujeres y deporte en los medios audiovisuales: cuerpos, imágenes, políticas", presentando los casos y temas abordados en el mismo y relacionándolos,... more
El presente artículo abre y prologa el número monográfico de la revista L'Atalante "Mujeres y deporte en los medios audiovisuales: cuerpos, imágenes, políticas", presentando los casos y temas abordados en el mismo y relacionándolos, comparativamente, con antecedentes clave de la historia de la literatura. Acudiendo a dos ejemplos de écfrasis en los que el deporte practicado por mujeres tiene un papel central, se contrapone una visión heteropatriarcal, cosificante y sexualizada del cuerpo deportivo femenino (representada por un capítulo de "Viaje al Oeste. Las aventuras del Rey Mono"), frente a las miradas de diversas deportistas mujeres que, como la poeta Concha Méndez, desafiaron las imposiciones de la male gaze a través de sus propias exploraciones de la imagen deportiva. Asimismo, se actualizan las ideas de Walter Benjamin sobre la relación cine / deporte, y el concepto de «mercado de las imágenes» de Susan Sontag, releyéndolos desde la teoría de los afectos de Sara Ahmed y su análisis sobre los condicionantes de clase, raza y género del deporte practicado por mujeres, en su libro "The Promise of Happiness".
Research Interests: History, Sociology of Sport, Gender Studies, Communication, Art History, and 15 moreWomen's Studies, Feminist Theory, Film Studies, Photography, Literature and cinema, Culture, Archives, Feminism, Cinema, Visual Arts, Film and Media Studies, Sports, Audiovisual, Literatura española e hispanoamericana, and Medios de Comunicación
In the iconography of football, images of euphoria coexist with those of defeat; those of celebration with those of loss; the image of the goal with that of the save. Every image has its opposite. One of football’s most painful images is... more
In the iconography of football, images of euphoria coexist with those of defeat; those of celebration with those of loss; the image of the goal with that of the save. Every image has its opposite. One of football’s most painful images is that of the injury, whether caused by an opponent during a match or as a result of an accident during training. Such an image determined a crucial moment in Natalia Arroyo’s history. After playing in the lower divisions for FC Barcelona and on Real Club Deportivo Espanyol’s first team, her career as a professional footballer was cut short by injury in 2008. One career ended, but very soon another began, as a journalist.
Arroyo is a unique figure in the world of football: once a player and then a journalist, she is now head coach for the Real Sociedad women’s team. She has also previously coached the Catalonia region’s women’s team. These multiple careers have given her a comprehensive understanding of the world of women’s sport, as she has had the chance to observe it both from within and from without. After studying audiovisual communication at Universitat Pompeu Fabra, Arroyo worked for several years as a journalist for media outlets including the newspaper Diari Ara, making her one of the leading authorities on women’s football and its relationship with images. Arroyo made herself available for this interview at the beginning of Real Sociedad’s pre-season, finding time in her working schedule to provide in-depth answers to the questions we asked her.
This interview was conducted on Thursday, 20 July 2023, via a video call between Donostia and Barcelona. This was within days of the commencement in Australia and New Zealand of the World Cup, which the Spanish women’s team would end up winning. What happened on the dais at the medal ceremony for that title, and subsequently in press conferences and communiques, effectively confirmed the truth of a whole range of protests that Spanish female footballers have been making more or less directly now for years (or even decades). The interview with Arroyo presented here took place before these events, so obviously there is no reference to them. Nevertheless, many of Arroyo’s comments reflect the debates that have intensified in response to the actions of the former President of the Spanish Football Federation, Luis Rubiales. We believe this makes her observations all the more interesting, given that they are not a reaction to the current media attention but the product of a thoughtful perspective, developed over many years, that connects past and present in an extraordinarily lucid way.
Arroyo is a unique figure in the world of football: once a player and then a journalist, she is now head coach for the Real Sociedad women’s team. She has also previously coached the Catalonia region’s women’s team. These multiple careers have given her a comprehensive understanding of the world of women’s sport, as she has had the chance to observe it both from within and from without. After studying audiovisual communication at Universitat Pompeu Fabra, Arroyo worked for several years as a journalist for media outlets including the newspaper Diari Ara, making her one of the leading authorities on women’s football and its relationship with images. Arroyo made herself available for this interview at the beginning of Real Sociedad’s pre-season, finding time in her working schedule to provide in-depth answers to the questions we asked her.
This interview was conducted on Thursday, 20 July 2023, via a video call between Donostia and Barcelona. This was within days of the commencement in Australia and New Zealand of the World Cup, which the Spanish women’s team would end up winning. What happened on the dais at the medal ceremony for that title, and subsequently in press conferences and communiques, effectively confirmed the truth of a whole range of protests that Spanish female footballers have been making more or less directly now for years (or even decades). The interview with Arroyo presented here took place before these events, so obviously there is no reference to them. Nevertheless, many of Arroyo’s comments reflect the debates that have intensified in response to the actions of the former President of the Spanish Football Federation, Luis Rubiales. We believe this makes her observations all the more interesting, given that they are not a reaction to the current media attention but the product of a thoughtful perspective, developed over many years, that connects past and present in an extraordinarily lucid way.
Research Interests:
En la iconografía del fútbol, las imágenes de euforia conviven con las de derrota; los gestos de celebración, con los de la pérdida; el del gol con el de la parada. Cada imagen tiene su reverso. Entre las imágenes más dolorosas del... more
En la iconografía del fútbol, las imágenes de euforia conviven con las de derrota; los gestos de celebración, con los de la pérdida; el del gol con el de la parada. Cada imagen tiene su reverso. Entre las imágenes más dolorosas del fútbol, está la de la lesión, ya sea a causa de la entrada de un rival o de un mal gesto durante un entrenamiento. En la historia de Natalia Arroyo, esa imagen determina un momento crucial. Jugadora en las categorías inferiores del Fútbol Club Barcelona y del primer equipo del Real Club Deportivo Espanyol, en 2008 interrumpe su carrera como futbolista profesional precisamente a causa de las lesiones. Una trayectoria termina, pero pronto comienza otra, la de periodista.
Arroyo es una figura singular en el mundo del fútbol: jugadora y, luego, periodista, ahora ostenta el cargo de entrenadora de la Real Sociedad. Antes, había sido también seleccionadora catalana. Ese recorrido múltiple le ha otorgado una comprensión muy amplia sobre el mundo del deporte jugado por mujeres, que conoce desde dentro y que ha observado también desde fuera. Tras estudiar Comunicación Audiovisual en la Universitat Pompeu Fabra, Arroyo ejerció durante años de periodista para medios como el Diari Ara, lo que la convierte en una de las voces más autorizadas a la hora de hablar de lo que se suele llamar el fútbol femenino y de la relación de este deporte con las imágenes. De hecho, Arroyo nos atendió para la entrevista al comienzo de la pretemporada de la Real Sociedad, y entre el trabajo encontró el tiempo para poder responder en profundidad a las cuestiones que le planteábamos.
Esta entrevista se realizó el jueves 20 de julio de 2023, a través de una videollamada entre Donosti y Barcelona. Apenas una semana más tarde, comenzó el Mundial de Fútbol que se celebró en Australia y Nueva Zelanda y que terminaría ganando la selección española. Lo que sucedió durante la celebración de aquel título, en el palco y durante la entrega de medallas, y posteriormente en ruedas de prensa y comunicados, confirmó la razón de ser de una serie de reivindicaciones y de denuncias que, durante años (décadas), llevan proclamando, de manera más o menos directa, las jugadoras españolas. La entrevista con Arroyo que presentamos aquí se produjo antes de aquellos hechos, así que, evidentemente, no se hace referencia a ellos. Sin embargo, en las palabras de Arroyo resuenan muchos de los debates que se han intensificado a raíz de las acciones del expresidente de la Federación Española de Fútbol, Luis Rubiales. Lo que, bajo nuestro punto de vista, es mucho más interesante, puesto que sus reflexiones no nacen de ningún boom mediático sino de una mirada tranquila, forjada durante años, capaz de relacionar pasado y presente con gran lucidez.
Arroyo es una figura singular en el mundo del fútbol: jugadora y, luego, periodista, ahora ostenta el cargo de entrenadora de la Real Sociedad. Antes, había sido también seleccionadora catalana. Ese recorrido múltiple le ha otorgado una comprensión muy amplia sobre el mundo del deporte jugado por mujeres, que conoce desde dentro y que ha observado también desde fuera. Tras estudiar Comunicación Audiovisual en la Universitat Pompeu Fabra, Arroyo ejerció durante años de periodista para medios como el Diari Ara, lo que la convierte en una de las voces más autorizadas a la hora de hablar de lo que se suele llamar el fútbol femenino y de la relación de este deporte con las imágenes. De hecho, Arroyo nos atendió para la entrevista al comienzo de la pretemporada de la Real Sociedad, y entre el trabajo encontró el tiempo para poder responder en profundidad a las cuestiones que le planteábamos.
Esta entrevista se realizó el jueves 20 de julio de 2023, a través de una videollamada entre Donosti y Barcelona. Apenas una semana más tarde, comenzó el Mundial de Fútbol que se celebró en Australia y Nueva Zelanda y que terminaría ganando la selección española. Lo que sucedió durante la celebración de aquel título, en el palco y durante la entrega de medallas, y posteriormente en ruedas de prensa y comunicados, confirmó la razón de ser de una serie de reivindicaciones y de denuncias que, durante años (décadas), llevan proclamando, de manera más o menos directa, las jugadoras españolas. La entrevista con Arroyo que presentamos aquí se produjo antes de aquellos hechos, así que, evidentemente, no se hace referencia a ellos. Sin embargo, en las palabras de Arroyo resuenan muchos de los debates que se han intensificado a raíz de las acciones del expresidente de la Federación Española de Fútbol, Luis Rubiales. Lo que, bajo nuestro punto de vista, es mucho más interesante, puesto que sus reflexiones no nacen de ningún boom mediático sino de una mirada tranquila, forjada durante años, capaz de relacionar pasado y presente con gran lucidez.
Research Interests:
El presente artículo relaciona los escritos futbolísticos de Wenceslao Fernández Flórez con el proyecto de investigación Fútbol y cultura visual en el franquismo: discursos de clase, género y construcción nacional en el cine, la prensa y... more
El presente artículo relaciona los escritos futbolísticos de Wenceslao Fernández Flórez con el proyecto de investigación Fútbol y cultura visual en el franquismo: discursos de clase, género y construcción nacional en el cine, la prensa y los noticiarios 1939-1975, desarrollado actualmente en la Universitat Pompeu Fabra de Barcelona y financiado por el Ministerio de Ciencia e Innovación (PID2020-116277GA-I00). Concretamente, se analiza el modo en que el autor coruñés abordó dos aspectos clave de la investigación: la fuerza de las imágenes y los motivos visuales ligados al fútbol, en su dimensión histórica e iconográfica; y la sintomática imbricación entre lo futbolístico y lo económico, a través de incisivas parodias sobre los aspectos crematísticos del deporte rey que, setenta años después de la publicación de De portería a portería, resultan casi visionarias. Asimismo, se analizan una serie de imágenes de archivo inéditas, a fin de visualizar con mayor concreción los fértiles vínculos entre la obra del autor coruñés y el citado proyecto.
This article relates the texts about football written by Wenceslao Fernández Flórez with the collective research project Football and visual culture under Francoism: discourses of class, gender and national construction in cinema, newsreels and the press 1939-1975, currently developed at Universitat Pompeu Fabra in Barcelona and financed by the Spanish Ministry of Science and Innovation (PID2020-116277GA-I00). Specifically, it delves into how the Galician writer approached two key aspects of this research: the force of football-based images and visual motifs, in the historical and iconographic dimension; and the symptomatic juxtaposition of football and money, through critical parodies of the economic aspects of this sport, which seventy years after De portería a portería was published, seem almost visionary. Moreover, a series of unpublished archival images are analyzed, in order to better visualize the fruitful links between Fernández Flórez's oeuvre and the aforementioned project.
This article relates the texts about football written by Wenceslao Fernández Flórez with the collective research project Football and visual culture under Francoism: discourses of class, gender and national construction in cinema, newsreels and the press 1939-1975, currently developed at Universitat Pompeu Fabra in Barcelona and financed by the Spanish Ministry of Science and Innovation (PID2020-116277GA-I00). Specifically, it delves into how the Galician writer approached two key aspects of this research: the force of football-based images and visual motifs, in the historical and iconographic dimension; and the symptomatic juxtaposition of football and money, through critical parodies of the economic aspects of this sport, which seventy years after De portería a portería was published, seem almost visionary. Moreover, a series of unpublished archival images are analyzed, in order to better visualize the fruitful links between Fernández Flórez's oeuvre and the aforementioned project.
Research Interests: History, Cultural History, Cultural Studies, Spanish Literature, Economics, and 15 moreCommunication, Visual Studies, Art History, Media Studies, Football (soccer), Film Studies, Galician Studies, Literature, Literature and cinema, Culture, Cinema, Visual Arts, Film and Media Studies, Sports, and Comunicación Audiovisual
This article explores the connections between moving images and world fairs by focusing on a specific case: the Barcelona 1929 International Exposition. The event, a key moment in the city's history, showcased cinema as a technological... more
This article explores the connections between moving images and world fairs by focusing on a specific case: the Barcelona 1929 International Exposition. The event, a key moment in the city's history, showcased cinema as a technological marvel, a vehicle for transnational influence and a tool for propaganda. After an introduction to the political and economic context of the exposition, our analysis covers four main areas: first, we document the role played by Palacio de Proyecciones, a sumptuous palace where new audiovisual devices and techniques were displayed; second, we trace the remains of the mysterious lost film Barcelona Trailer, where Hollywood stars greeted Hispanic audiences and praised the exhibition; third, we offer a critical analysis of the newsreels recorded by the film company CINAES and their mise en scène; finally, we compare visual motifs and shots from the 1929 footage with contemporary images produced today in Barcelona, examining the links between visual culture, technology and gender.
Research Interests: History, Cultural History, Communication, Art History, Media Studies, and 15 moreCatalan Studies, Film Studies, Popular Culture, Nationalism, Spanish Cinema, Interwar Period History, Dictatorships, Cinema, Documentary Film, Visual Arts, City Branding, Barcelona, Audiovisual, World's Fairs, and World’s Fairs and Other Expositions
In the context of the Japanese Long 68, this essay explores the work of experimental filmmaker Shuji Terayama in relation to the tragicomic possibilities of visual humor and cinematic gags. Juxtaposing Ryan Holmberg’s exploration of... more
In the context of the Japanese Long 68, this essay explores the work of experimental filmmaker Shuji Terayama in relation to the tragicomic possibilities of visual humor and cinematic gags. Juxtaposing Ryan Holmberg’s exploration of Japanese nansensu with other historical, cultural and political theories, the article argues that visual gags and comedic performativity (going back to silent cinema and the avantgarde) allowed Terayama to both embrace and critique the revolutionary ideals of the Japanese New Left in the late 60s and early 70s.
Research Interests: History, Communication, Visual Studies, Art History, Performing Arts, and 15 moreAvant-Garde Cinema, Comedy, Performance Studies, Japanese Language And Culture, Politics, Silent Film, Theater and film, Japan, Experimental Film, Film and Media Studies, May 68, Cinema Studies, Comunicacion audiovisual, Historia y Teoria del Arte y la Arquitectura, and Shuji Terayama
The media help to construct the visual and iconographic imagery of economic power in the dialectical tension between what they show and what they leave out of view. Images such as unemployment queues, graphs, and portraits of the powerful... more
The media help to construct the visual and iconographic imagery of economic power in the dialectical tension between what they show and what they leave out of view. Images such as unemployment queues, graphs, and portraits of the powerful appear assiduously on the front pages of the press, revealing different visual motifs essential to understanding the narrative of the economy, with its inheritances, mutations and hierarchies, which point to its relationship with other spheres of power such as the monarchy or politics. This article attempts to decipher the codes of visual representation of the economic sphere in Spain through the qualitative analysis of front-page photographs published in El País, El Mundo and La Vanguardia from 2011 to 2013, a period marked by the banking and financial crisis, civil protests, or the judicial prosecution of figures such as Rodrigo Rato. The methodology used combines visual analysis and comparative iconography with theoretical foundations of social semiotics and visual communication, as well as interviews with photojournalists and chiefs of staff. Finally, the results conclude that both economic leaders and the media codify their photographs using specific visual motifs to project a distant and proactive image of the banking elite, which is only disrupted when previously revered figures of the economic elite fall from grace in corruption cases. And also, that in the dialectic of the visible and the invisible of economic power there are hidden historical moments that can never be photographed.
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Resumen: Los medios de comunicación ayudan a construir el imaginario visual e iconográfico del poder económico en la tensión dialéctica entre lo que muestran y lo que dejan fuera de campo. Imágenes como las colas del paro, los gráficos y... more
Resumen: Los medios de comunicación ayudan a construir el imaginario visual e iconográfico del poder económico en la tensión dialéctica entre lo que muestran y lo que dejan fuera de campo. Imágenes como las colas del paro, los gráficos y los retratos de los poderosos aparecen asiduamente en las portadas de prensa revelando diferentes motivos visuales esenciales para comprender la narrativa de la economía, con sus herencias, mutaciones y jerarquías, que evidencian su relación con otros ámbitos del poder como la monarquía o la política. Este artículo intenta descifrar los códigos de representación visual del ámbito económico en España a través del análisis cualitativo de las fotografías de portada publicadas en El País, El Mundo y La Vanguardia de 2011 a 2013, período marcado por la crisis bancaria y financiera, las protestas civiles o el procesamiento judicial de figuras como Rodrigo Rato. La metodología utilizada combina el análisis visual y la iconografía comparada con fundamentos teóricos de la semiótica social y la visual communication, además de entrevistas a fotoperiodistas y jefes de gabinete. Finalmente, en los resultados se concluye que tanto los líderes económicos como los media codifican sus fotografías empleando motivos visuales concretos para proyectar una imagen distante y proactiva de la élite bancaria, que solo se trastoca cuando figuras antes veneradas de la élite económica caen en desgracia por casos de corrupción. Y también que en la dialéctica de lo visible y lo invisible del poder económico quedan ocultos momentos históricos que nunca podrán ser fotografiados.
Palabras calve Poder, economía, motivo visual, crisis financiera, fotoperiodismo, historia, media.
Palabras calve Poder, economía, motivo visual, crisis financiera, fotoperiodismo, historia, media.
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This article explores the use of photography and visual motifs as forms of political humour in contemporary media. By studying the representation of former Prime Minister of Spain Mariano Rajoy in the front pages of three Spanish... more
This article explores the use of photography and visual motifs as forms of political humour in contemporary media. By studying the representation of former Prime Minister of Spain Mariano Rajoy in the front pages of three Spanish newspapers (El Mundo, El País and La Vanguardia) between 2011 and 2017, the paper identifies and questions the liaisons between power and satire present in the so-called "serious" press, focusing on how different photographic traits concerning layout, composition and gestures reflect ideological choices. This photographic satire developed by printed media is then framed within a figurative tradition that goes back to Spanish royal portraiture, from Velázquez to Goya, which employs common strategies for the visual depiction of power, including satirical and humorous attributes to push specific political agendas. This examination, based on the quantified study and the visual analysis of more than 7,500 front pages, is part of the national research project MOVEP Visual Motifs in the Public Sphere: Production and Circulation of Images of Power in Spain, 2011-2017. In order to determine a useful procedural approach to satirical expressions in photographs, defining which front pages invoke a remarkable satirical content, this article also presents a comparative study and a categorisation based on formal (im)balances related to the concepts of visual motif and humour.
Research Interests: Semiotics, History, Communication, Iconography, Art History, and 15 moreMedia Studies, Photography, Gesture, Visual Culture, Politics, Political communication, Civil Society and the Public Sphere, Social Semiotics, Satire & Irony, Spain, Film and Media Studies, Humour Studies, Comunicación Audiovisual, Medios de comunicación y poder, and News Analysis
A dialogue with filmmakers Carla Simón and Celia Rico about the influence of Japanese cinema on their award-winning debut films Summer 1993 (Estiu 1993, 2017) and Journey to a Mother's Room (Viaje al cuarto de una madre, 2018) and their... more
A dialogue with filmmakers Carla Simón and Celia Rico about the influence of Japanese cinema on their award-winning debut films Summer 1993 (Estiu 1993, 2017) and Journey to a Mother's Room (Viaje al cuarto de una madre, 2018) and their filmographies.
Keywords: Carla Simón; Celia Rico; Spanish cinema; Japanese cinema; Hirokazu Koreeda; Yasujiro Ozu.
Keywords: Carla Simón; Celia Rico; Spanish cinema; Japanese cinema; Hirokazu Koreeda; Yasujiro Ozu.
Research Interests: Asian Studies, Japanese Studies, Aesthetics, Art History, Media Studies, and 15 moreFilm Studies, European Cinema, Japanese Language And Culture, Contemporary Art, Spanish Cinema, Japanese Cinema, Culture, Film History, Women & Film, Cinema, Visual Arts, Yasujiro Ozu, Film and Media Studies, Comunicacion, and Audiovisual
Diálogo con las cineastas Carla Simón y Celia Rico en torno a la influencia del cine japonés en sus premiadas óperas primas "Estiu 1993" (2017) y "Viaje al cuarto de una madre" (2018) y en el resto de su filmografía.
Research Interests: Japanese Studies, Art History, Media Studies, Film Studies, Influence, and 15 moreJapanese Language And Culture, Gesture, Visual Culture, National Cinemas, Spanish Cinema, Japanese Cinema, East Asian Cinema, Cinema, Film Aesthetics, Visual Arts, Film and Media Studies, Transnational Cinema, Cinema Studies, Audiovisual, and Comunicación Audiovisual
This article compares different television series with the aim of reassessing the importance we normally ascribe to the serial structure in our research on television fiction. I begin by arguing for the need to engage in comparative... more
This article compares different television series with the aim
of reassessing the importance we normally ascribe to the
serial structure in our research on television fiction. I begin
by arguing for the need to engage in comparative analysis of
seriality in different media forms, as opposed to methodological
approaches that advocate the isolation of the televisual
within the televisual. I then go on to propose a specific application
of the concept of narrative structure to the television
series, drawing on terms from structuralism and post-structuralism
(dynamic, force, différance) that underscore the
unique mutability of its production processes. The ultimate
aim of the article is to enrich the semiotic and narratological
models of other authors by positing a range of methodological
alternatives for reconsidering the two major dynamics of
serial narratives: the self-contained (series) and the serialised
(serial).
of reassessing the importance we normally ascribe to the
serial structure in our research on television fiction. I begin
by arguing for the need to engage in comparative analysis of
seriality in different media forms, as opposed to methodological
approaches that advocate the isolation of the televisual
within the televisual. I then go on to propose a specific application
of the concept of narrative structure to the television
series, drawing on terms from structuralism and post-structuralism
(dynamic, force, différance) that underscore the
unique mutability of its production processes. The ultimate
aim of the article is to enrich the semiotic and narratological
models of other authors by positing a range of methodological
alternatives for reconsidering the two major dynamics of
serial narratives: the self-contained (series) and the serialised
(serial).
Research Interests: Media Studies, Television Studies, Narrative, Roland Barthes, Jacques Derrida, and 11 moreHermeneutics and Narrative, Structuralism/Post-Structuralism, Comparative Media Studies, Narrative Theory, Series TV, Television, Film and Media Studies, Seriality, Gilbert Durand, Comunicación Audiovisual, and Cinema and Television
El presente artículo compara diversas series con el objetivo de repensar el peso específico que otorgamos a la estructura serial en nuestra manera de analizar ficciones televisivas. En la primera parte se defiende la conveniencia de... more
El presente artículo compara diversas series con el objetivo de repensar el peso específico que otorgamos a la estructura serial en nuestra manera de analizar ficciones televisivas. En la primera parte se defiende la conveniencia de plantear análisis comparados de la serialidad entre diversos medios, frente a otras tendencias metodológicas que propugnan el aislamiento de lo televisivo en lo televisivo. A continuación, se propone una aplicación concreta del concepto de estructura narrativa en las series de televisión, rescatando algunos términos del debate estructuralista y post-estructuralista (dinámica, fuerza, diferencia) que recalcan la particular mutabilidad de sus procesos de producción. Todo ello a fin de enriquecer los modelos semióticos y narratológicos de otros autores en la parte final del texto, planteando un horizonte de alternativas metodológicas para repensar las dos grandes dinámicas de la narrativa serial, la auto-concluyente (series) y la serializada (serial).
Research Interests: Semiotics, Art History, Media Studies, Television Studies, Literature, and 15 moreNarrative, Narratology, Structuralism/Post-Structuralism, Series TV, Television, Film and Media Studies, Seriality, Comunicacion, Analisis Estructural, Historia del Arte, Narrativas, Literatura Comparada, Estructuralismo, Comunicación Audiovisual, and TV Series
Forty years after the release of "Jeanne Dielman" (1975), the films of Chantal Akerman continue to be one of the most complex and inspiring sources for a feminist approach to cinema. Due to her recent passing, renewed attention has been... more
Forty years after the release of "Jeanne Dielman" (1975), the films of Chantal Akerman continue to be one of the most complex and inspiring sources for a feminist approach to cinema. Due to her recent passing, renewed attention has been paid to different aspects of her work, which remains key to understand the liaisons of experimental film and feminist theory. Focused on the dissociation of words and images in her self-portraits, this brief article raises questions about the gender hierarchies implied in synchronic sound design, by vindicating an alternative mode of production based on a/synchrony. If the willfulness of feminist practices (Ahmed, 2014) can be measured by the reluctance to reproduce patriarchal structures, Akerman’s strategies of aural disembodiment open new paths to deconstruct the male-oriented synchrony of female voices and bodies. Split between presence and absence, the seen and the heard, queer and Jewish identity, her work offers a unique toolbox for future constructions of feminist sound design.
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This paper assesses the importance of visual motifs as new research tools for film and media studies, by running a quantitative meta-study of two expert review databases: the British Film Institute best-movies 2012 poll and the... more
This paper assesses the importance of visual motifs as new research tools for film and media studies, by running a quantitative
meta-study of two expert review databases: the British Film Institute best-movies 2012 poll and the "Encyclopedia
of visual motifs in cinema" (a joint venture of up to sixty researchers and film critics). The former is used as an indicator of
canonic values in film historiography, while the latter represents a new approach to cinema from a less hierarchical and nonauteur-
oriented methodology. Three main variables are quantified and compared (decades, genres, directors), pointing to a
low accordance between the top films of both databases, as well as to noteworthy differences in terms of historical scope,
high / low culture values, and authorship.
meta-study of two expert review databases: the British Film Institute best-movies 2012 poll and the "Encyclopedia
of visual motifs in cinema" (a joint venture of up to sixty researchers and film critics). The former is used as an indicator of
canonic values in film historiography, while the latter represents a new approach to cinema from a less hierarchical and nonauteur-
oriented methodology. Three main variables are quantified and compared (decades, genres, directors), pointing to a
low accordance between the top films of both databases, as well as to noteworthy differences in terms of historical scope,
high / low culture values, and authorship.
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Research Interests: Cultural History, Philosophy, Visual Studies, Film Studies, Animation, and 12 moreComedy, Visual Culture, Film History, Narrative Theory, Film Aesthetics, Luis Buñuel, Film and Television Comedy, Comunicación Audiovisual, Film Style, Film Narrative, History of Film Theory and Criticism, and Comedic Taxonomy
Research Interests: Cultural Studies, Aesthetics, Visual Studies, Media and Cultural Studies, Transformative Learning, and 17 moreScreen Comedy, Comedy, Humor, Silent Film, Mashups, Transmedial Storytelling, Fan Cultures, Fandom, Parody, Youtube, Transmedia, Film and Television Comedy, Slapstick, Comunicación Audiovisual, Super Mario Bros., Fan Videos, and Clowns, Fools, and Jesters
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Research Interests: Visual Studies, Education, Media Studies, New Media, Film Studies, and 14 moreVisual Culture, Visual Culture, Silent Film, Buster Keaton, Pedagogy, Early Cinema, Film History, Comparative Media Studies, Cinema of Attractions, Silent Cinema, Comunicación Audiovisual, Douglas Fairbanks, Super Mario Bros., and Pathé Frères
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Les narratives transmediàtiques emergeixen com un dels temes de recerca més interessants de l’ecologia dels mitjans actual.L’objectiu d’aquest article és presentar els resultats generals d’una recerca realitzada entre el 2010 i el 2011... more
Les narratives transmediàtiques emergeixen com un dels temes de recerca més interessants de l’ecologia dels mitjans actual.L’objectiu d’aquest article és presentar els resultats generals d’una recerca realitzada entre el 2010 i el 2011 sobre les narratives transmediàtiques produïdes a Catalunya. En la recerca,de caràcter exploratori, s’hi van analitzar produccions de ficció,reality shows, paròdies, late night shows, produccions publicitàries vinculades a aquestes obres i campanyes polítiques. En l’àmbit metodològic, la recerca va incloure l’anàlisi del material textual i la realització d’entrevistes semiestructurades amb els principals responsables de les produccions transmediàtiques.
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Research Interests: Mythology, Visual Studies, Game studies, Visual Anthropology, New Media, and 14 moreHermeneutics, Video Games, Gaston Bachelard, Video Game Theory, Hermeneutics and Narrative, Comparative Media Studies, Comparative mythology, Myth, Construction of Heroes, Nintendo, Gilbert Durand, Comunicación Audiovisual, Teoría de los imaginarios (Durand, Castoriadis), and Super Mario Bros.
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Las imágenes generadas por el poder utilizan determinados motivos visuales bajo los cuales se oculta una suma de protocolos interesados que les proporciona su auténtico sentido. Ante esta constatación, los cuarenta capítulos y las dos... more
Las imágenes generadas por el poder utilizan determinados motivos visuales bajo los cuales se oculta una suma de protocolos interesados que les proporciona su auténtico sentido. Ante esta constatación, los cuarenta capítulos y las dos adendas que conforman El poder en escena responden a la necesidad de ejercer de rastreadores de estos iconos de la esfera pública para descifrar así la naturaleza de estas imágenes que parecen rutinarias y espontáneas, y ante las cuales no solemos interrogarnos. Solo con hacerlo y detenernos en cada motivo para nombrarlo, ya se da un paso decisivo para reconocer su sesgo ideológico. Esos motivos visuales se generan desde el campo de la política, quizá los más notorios por su voluntad propagandística; desde la economía, siempre basados en la ocultación de su poder real; del poder judicial, otro ámbito donde la opacidad es norma; de los cuerpos policiales, que construyen motivos de aparente objetividad; o de algunos rituales sociales que se repiten de manera insistente y enigmática. El hecho de ahondar en los orígenes iconográficos de cada motivo –en el cine, la pintura, la fotografía o la arquitectura y sus posteriores ramificaciones– nos permite cuestionar las formas visuales que los distintos ámbitos de poder utilizan para autorrepresentarse. Y al mismo tiempo sirve para preguntarnos por la génesis y evolución de estas formas, dar testimonio de su falsa transparencia y devolver así una mirada crítica e irónica ante el poder que las genera.
Research Interests: History, Cultural Studies, Philosophy, Visual Studies, Iconography, and 15 moreArt History, Media Studies, Photography, Film Music And Sound, Popular Culture, Political Science, Sound, Cinema, Visual Arts, Film and Media Studies, Economy, Antropología, Poverty and Inequality, Historia Contemporánea de España, and Comunicación Audiovisual
Las imágenes generadas por el poder utilizan determinados motivos visuales bajo los cuales se oculta una suma de protocolos interesados que les proporciona su auténtico sentido. Ante esta constatación, los cuarenta capítulos y las dos... more
Las imágenes generadas por el poder utilizan determinados motivos visuales bajo los cuales se oculta una suma de protocolos interesados que les proporciona su auténtico sentido. Ante esta constatación, los cuarenta capítulos y las dos adendas que conforman El poder en escena responden a la necesidad de ejercer de rastreadores de estos iconos de la esfera pública para descifrar así la naturaleza de estas imágenes que parecen rutinarias y espontáneas, y ante las cuales no solemos interrogarnos. Solo con hacerlo y detenernos en cada motivo para nombrarlo, ya se da un paso decisivo para reconocer su sesgo ideológico. Esos motivos visuales se generan desde el campo de la política, quizá los más notorios por su voluntad propagandística; desde la economía, siempre basados en la ocultación de su poder real; del poder judicial, otro ámbito donde la opacidad es norma; de los cuerpos policiales, que construyen motivos de aparente objetividad; o de algunos rituales sociales que se repiten de manera insistente y enigmática. El hecho de ahondar en los orígenes iconográficos de cada motivo –en el cine, la pintura, la fotografía o la arquitectura y sus posteriores ramificaciones– nos permite cuestionar las formas visuales que los distintos ámbitos de poder utilizan para autorrepresentarse. Y al mismo tiempo sirve para preguntarnos por la génesis y evolución de estas formas, dar testimonio de su falsa transparencia y devolver así una mirada crítica e irónica ante el poder que las genera.
Research Interests: History, Cultural Studies, Philosophy, Visual Studies, Iconography, and 15 moreArt History, Media Studies, Journalism, Photography, Popular Culture, Political Science, Money and Banking, Cinema, Visual Arts, Film and Media Studies, Economy, Antropología, Poverty and Inequality, Historia Contemporánea de España, and Comunicación Audiovisual
This volume examines fifty of the most important video games that have contributed significantly to the history, development, or culture of the medium, providing an overview of video games from their beginning to the present day. This... more
This volume examines fifty of the most important video games that have contributed significantly to the history, development, or culture of the medium, providing an overview of video games from their beginning to the present day.
This volume covers a variety of historical periods and platforms, genres, commercial impact, artistic choices, contexts of play, typical and atypical representations, uses of games for specific purposes, uses of materials or techniques, specific subcultures, repurposing, transgressive aesthetics, interfaces, moral or ethical impact, and more. Key video games featured include Animal Crossing, Call of Duty, Grand Theft Auto, The Legend of Zelda, Minecraft, PONG, Super Mario Bros., Tetris, and World of Warcraft. Each game is closely analyzed in order to properly contextualize it, to emphasize its prominent features, to show how it creates a unique experience of gameplay, and to outline the ways it might speak about society and culture. The book also acts as a highly accessible showcase to a range of disciplinary perspectives that are found and practiced in the field of game studies.
With each entry supplemented by references and suggestions for further reading, Fifty Key Video Games is an indispensable reference for anyone interested in video games.
This volume covers a variety of historical periods and platforms, genres, commercial impact, artistic choices, contexts of play, typical and atypical representations, uses of games for specific purposes, uses of materials or techniques, specific subcultures, repurposing, transgressive aesthetics, interfaces, moral or ethical impact, and more. Key video games featured include Animal Crossing, Call of Duty, Grand Theft Auto, The Legend of Zelda, Minecraft, PONG, Super Mario Bros., Tetris, and World of Warcraft. Each game is closely analyzed in order to properly contextualize it, to emphasize its prominent features, to show how it creates a unique experience of gameplay, and to outline the ways it might speak about society and culture. The book also acts as a highly accessible showcase to a range of disciplinary perspectives that are found and practiced in the field of game studies.
With each entry supplemented by references and suggestions for further reading, Fifty Key Video Games is an indispensable reference for anyone interested in video games.
Research Interests: Cultural History, Art History, Technology, Media Studies, New Media, and 15 moreFilm Studies, Popular Culture, Media History, Sports History, Video Games, Video Game Development and Production, Culture, Digital Media & Learning, Interactive and Digital Media, Visual Arts, Film and Media Studies, Sports, Games, Videojuegos, and Comunicación Audiovisual
Tracing the images back to key precedents in Spanish film history, from Buñuel’s "Las Hurdes" (Land Without Bread, 1933) to the films of José Antonio Nieves Conde in the 1950s, this chapter explores the audiovisual depiction of housing... more
Tracing the images back to key precedents in Spanish film history, from Buñuel’s "Las Hurdes" (Land Without Bread, 1933) to the films of José Antonio Nieves Conde in the 1950s, this chapter explores the audiovisual depiction of housing precarity and construction in the contemporary documentaries "En construcción" (Work in Progress, José Luis Guerín, 2001), "Edificio España" (The Building, Victor Moreno, 2012) and "Mercado de futuros" (Futures Market, Mercedes Álvarez, 2011). It also contextualizes them in relation to other relevant films focused on the so-called “economic crisis.” Instead of reading such films as dealing with new or hypermodern forms of housing precarity, the text posits that the class, gender, and racial issues mobilized in them are symptomatically linked with the modes and structures of Francoism, intertwining past and present inequalities deeply ingrained in Spain’s social fabric. Therefore, this contribution aims to expose the critical divides of housing precarity in Spain (wealth vs. income, origin vs. citizenship, heritage vs. meritocracy, private vs. public) by looking back to its authoritarian and troubled past. But, instead of focusing on hegemonic power, the text delves into forms of resistance and bonding between precarious individuals and collectives that still thrive and fight back in spite of the class, institutional, and corporate burdens they carry.
Research Interests: History, Cultural Studies, Art History, Media Studies, Film Studies, and 15 moreSpanish Cinema, Spanish History, Culture, Housing, Film History, Precarity, Cinema, Documentary Film, Visual Arts, Social Class, Film and Media Studies, Social Inequality, Francoism, Comunicación Audiovisual, and Antropology
Focused on Nintendo's crossover fighting series Super Smash Bros, this chapter explores its relations with previous forms of physical comedy and group humour such as slapstick cinema, Japanese theatre, and commedia dell'arte, drawing on... more
Focused on Nintendo's crossover fighting series Super Smash Bros, this chapter explores its relations with previous forms of physical comedy and group humour such as slapstick cinema, Japanese theatre, and commedia dell'arte, drawing on interviews with game designers as well as oral testimonies from comedians, filmmakers and art historians. In order to interrogate the specificity of visual humour in game environments, and particularly within Nintendo's imagery, the text compares classic gags and comedic routines of this franchise with similar formal and aesthetic configurations from other media, going back to historical definitions and theories of physical comedy, thus vindicating a type of humour based on movements, gestures and spatial imbalances instead of words and dialogues. Overall, the chapter argues that the Smash Bros games allow players to perform almost like silent clowns, using adaptability, improvisation and surprise to develop their own comedic styles and share laughs together.
Research Interests: Cultural Studies, Art History, Film Studies, Comedy, Popular Culture, and 15 moreHumor, Video Games, Video Game Development and Production, Silent Film, Media, Comparative Media Studies, Cinema, Commedia dell'arte, Japanese Popular Culture, Visual Arts, Film and Media Studies, Humour Studies, Communication Studies, Audiovisual, and Nintendo
This chapter analyses the adaptations of Franco-Belgian comic book classics such as Astérix and Tintin developed by the French company Infogrames in collaboration with the Catalan studio Bit Managers. The "Europeanness" of these games is... more
This chapter analyses the adaptations of Franco-Belgian comic book classics such as Astérix and Tintin developed by the French company Infogrames in collaboration with the Catalan studio Bit Managers. The "Europeanness" of these games is multi-layered because not only were they made in Europe (a successful example of Franco-Hispanic coproduction), they were also based on previous European creations and focused on European characters travelling across European countries. Through a comparative analysis of their reception in French, British, Spanish, and Italian game magazines, as well as a series of interviews with the designers, this chapter addresses how they mobilised national clichés and competing identities while questioning discourses of originality, adaptation, and medium specificity, ultimately confirming the differential and asymmetric quality of European identity, both in and outside of game culture.
Research Interests: European History, European Studies, Communication, Art History, Media Studies, and 15 moreNew Media, Popular Culture, Comic Book Studies, Video Games, Video Game Design, Culture, Comics, Interactive and Digital Media, Cultural Memory, Visual Arts, Film and Media Studies, Audiovisual, Adaptation and Appropriation Theory, Tintin, and Asterix
Now in its second edition, the Encyclopedia of Video Games: The Culture, Technology, and Art of Gaming is the definitive, go-to resource for anyone interested in the diverse and expanding video game industry. This three-volume... more
Now in its second edition, the Encyclopedia of Video Games: The Culture, Technology, and Art of Gaming is the definitive, go-to resource for anyone interested in the diverse and expanding video game industry.
This three-volume encyclopedia covers all things video games, including the games themselves, the companies that make them, and the people who play them. Written by scholars who are exceptionally knowledgeable in the field of video game studies, it notes genres, institutions, important concepts, theoretical concerns, and more and is the most comprehensive encyclopedia of video games of its kind, covering video games throughout all periods of their existence and geographically around the world.
This is the second edition of Encyclopedia of Video Games: The Culture, Technology, and Art of Gaming, originally published in 2012. All of the entries have been revised to accommodate changes in the industry, and an additional volume has been added to address the recent developments, advances, and changes that have occurred in this ever-evolving field. This set is a vital resource for scholars and video game aficionados alike.
This three-volume encyclopedia covers all things video games, including the games themselves, the companies that make them, and the people who play them. Written by scholars who are exceptionally knowledgeable in the field of video game studies, it notes genres, institutions, important concepts, theoretical concerns, and more and is the most comprehensive encyclopedia of video games of its kind, covering video games throughout all periods of their existence and geographically around the world.
This is the second edition of Encyclopedia of Video Games: The Culture, Technology, and Art of Gaming, originally published in 2012. All of the entries have been revised to accommodate changes in the industry, and an additional volume has been added to address the recent developments, advances, and changes that have occurred in this ever-evolving field. This set is a vital resource for scholars and video game aficionados alike.
Research Interests: Cultural History, Art History, Technology, Media Studies, New Media, and 15 morePerforming Arts, Film Studies, Comedy, Popular Culture, Media History, Video Games, Silent Film, Culture, Digital Media & Learning, Cinema, Visual Arts, Film and Media Studies, Games, Videojuegos, and Comunicación Audiovisual
Now in its second edition, the Encyclopedia of Video Games: The Culture, Technology, and Art of Gaming is the definitive, go-to resource for anyone interested in the diverse and expanding video game industry. This three-volume... more
Now in its second edition, the Encyclopedia of Video Games: The Culture, Technology, and Art of Gaming is the definitive, go-to resource for anyone interested in the diverse and expanding video game industry.
This three-volume encyclopedia covers all things video games, including the games themselves, the companies that make them, and the people who play them. Written by scholars who are exceptionally knowledgeable in the field of video game studies, it notes genres, institutions, important concepts, theoretical concerns, and more and is the most comprehensive encyclopedia of video games of its kind, covering video games throughout all periods of their existence and geographically around the world.
This is the second edition of Encyclopedia of Video Games: The Culture, Technology, and Art of Gaming, originally published in 2012. All of the entries have been revised to accommodate changes in the industry, and an additional volume has been added to address the recent developments, advances, and changes that have occurred in this ever-evolving field. This set is a vital resource for scholars and video game aficionados alike.
This three-volume encyclopedia covers all things video games, including the games themselves, the companies that make them, and the people who play them. Written by scholars who are exceptionally knowledgeable in the field of video game studies, it notes genres, institutions, important concepts, theoretical concerns, and more and is the most comprehensive encyclopedia of video games of its kind, covering video games throughout all periods of their existence and geographically around the world.
This is the second edition of Encyclopedia of Video Games: The Culture, Technology, and Art of Gaming, originally published in 2012. All of the entries have been revised to accommodate changes in the industry, and an additional volume has been added to address the recent developments, advances, and changes that have occurred in this ever-evolving field. This set is a vital resource for scholars and video game aficionados alike.
Research Interests: Cultural History, Game Theory, Art History, Technology, Media Studies, and 15 moreNew Media, Film Studies, Popular Culture, Media History, Video Games, Video Game Design, Video Game Development and Production, Culture, Digital Media & Learning, Interactive and Digital Media, Visual Arts, Film and Media Studies, Games, Videojuegos, and Comunicación Audiovisual
Now in its second edition, the Encyclopedia of Video Games: The Culture, Technology, and Art of Gaming is the definitive, go-to resource for anyone interested in the diverse and expanding video game industry. This three-volume... more
Now in its second edition, the Encyclopedia of Video Games: The Culture, Technology, and Art of Gaming is the definitive, go-to resource for anyone interested in the diverse and expanding video game industry.
This three-volume encyclopedia covers all things video games, including the games themselves, the companies that make them, and the people who play them. Written by scholars who are exceptionally knowledgeable in the field of video game studies, it notes genres, institutions, important concepts, theoretical concerns, and more and is the most comprehensive encyclopedia of video games of its kind, covering video games throughout all periods of their existence and geographically around the world.
This is the second edition of Encyclopedia of Video Games: The Culture, Technology, and Art of Gaming, originally published in 2012. All of the entries have been revised to accommodate changes in the industry, and an additional volume has been added to address the recent developments, advances, and changes that have occurred in this ever-evolving field. This set is a vital resource for scholars and video game aficionados alike.
This three-volume encyclopedia covers all things video games, including the games themselves, the companies that make them, and the people who play them. Written by scholars who are exceptionally knowledgeable in the field of video game studies, it notes genres, institutions, important concepts, theoretical concerns, and more and is the most comprehensive encyclopedia of video games of its kind, covering video games throughout all periods of their existence and geographically around the world.
This is the second edition of Encyclopedia of Video Games: The Culture, Technology, and Art of Gaming, originally published in 2012. All of the entries have been revised to accommodate changes in the industry, and an additional volume has been added to address the recent developments, advances, and changes that have occurred in this ever-evolving field. This set is a vital resource for scholars and video game aficionados alike.
Research Interests: Cultural History, Game Theory, Art History, Technology, Media Studies, and 15 moreNew Media, Film Studies, Popular Culture, Media History, Video Games, Video Game Design, Video Game Development and Production, Culture, Digital Media & Learning, Interactive and Digital Media, Visual Arts, Film and Media Studies, Games, Videojuegos, and Comunicación Audiovisual
This chapter focuses on the unique interplay of football, fascism and conflicting national identities in Spain, in an attempt to better understand how the problems and specters of the past, exemplified in the Francoist sports film... more
This chapter focuses on the unique interplay of football, fascism and conflicting national identities in Spain, in an attempt to better understand how the problems and specters of the past, exemplified in the Francoist sports film "Campeones" (Ramón Torrado, 1943), are prevalent today and still shape many contemporary public discourses about national identity. Shot only three years after the end of the Spanish Civil War and released during World War II, the film became the foundation stone of a genuinely Spanish football film genre, a sports-themed blend of populism and repression that this chapter contextualizes within larger debates on national identity (Loureiro 2003; Quiroga 2013) and sports culture (Verdú 1980; Simón 2012) in order to find out to what extent the Francoist football film contributed to the dictatorship's propaganda as a whole. That is, how did "Campeones" and similar subsequent movies sell the - fabricated - image of a strong and unified nation under one banner (¡Una, Grande y Libre!) instead of the multi-layered reality of conflicting nationalisms and regional identities (Payne 1991) within the country?
In order to trace the historical implications of "Campeones" from its original release until today, the chapter addresses the movie in four complementary ways. To begin with, I undertake a textual analysis of the film's audiovisual and storytelling structure, focused on certain scenes that exemplify how national identity is constructed and negotiated through mise-en-scène. This is followed by an evaluation of how the movie was reviewed upon its release in 1943 by both mainstream and specialized press (newspapers as well as film and sports magazines), to better grasp how relevant social, class and gender issues of the time were experienced by audiences. Third, I propose a brief account of the evolution of other Francoist "fútbol" films in the 1950s after "Camepones", parallel to the political and social mutations of the regime from a Falangist to a National-Catholic agenda, which nevertheless enforced strategies of cultural assimilation. Finally, the chapter ends with a closing hypothesis that relates those previous layers with the current states of affairs in Spain, offering a critical reading of the 2010 World Cup triumph as a missed opportunity that, instead of celebrating the mixed and heterogeneous nature of the country (a plural team with players from different regions like Andalusia, Catalonia, Canarias or the Basque Country), indulged in the very same centralist and negationist prejudices spread by "Campeones" and other Francoist football films 60 years before, thus fueling the revival of divisive nationalism(s) in this day and age.
In order to trace the historical implications of "Campeones" from its original release until today, the chapter addresses the movie in four complementary ways. To begin with, I undertake a textual analysis of the film's audiovisual and storytelling structure, focused on certain scenes that exemplify how national identity is constructed and negotiated through mise-en-scène. This is followed by an evaluation of how the movie was reviewed upon its release in 1943 by both mainstream and specialized press (newspapers as well as film and sports magazines), to better grasp how relevant social, class and gender issues of the time were experienced by audiences. Third, I propose a brief account of the evolution of other Francoist "fútbol" films in the 1950s after "Camepones", parallel to the political and social mutations of the regime from a Falangist to a National-Catholic agenda, which nevertheless enforced strategies of cultural assimilation. Finally, the chapter ends with a closing hypothesis that relates those previous layers with the current states of affairs in Spain, offering a critical reading of the 2010 World Cup triumph as a missed opportunity that, instead of celebrating the mixed and heterogeneous nature of the country (a plural team with players from different regions like Andalusia, Catalonia, Canarias or the Basque Country), indulged in the very same centralist and negationist prejudices spread by "Campeones" and other Francoist football films 60 years before, thus fueling the revival of divisive nationalism(s) in this day and age.
Research Interests: Cultural Studies, Gender Studies, Spanish, Football (soccer), Film Studies, and 15 moreFilm Analysis, Propaganda, Fascism, Nationalism, Celebrity Culture, National Identity, Cinema, Visual Arts, Film and Media Studies, Sport, Cinema Studies, Francoism, Sociology of Football, Comunicación Audiovisual, and Medios de comunicación y poder
Pourquoi établir des liens entre des images de films radicalement différents ? Parce que ces images convoquent des motifs visuels qui hantent le cinéma depuis ses origines : la fenêtre, la nuque, l’escalier, le miroir, le labyrinthe, le... more
Pourquoi établir des liens entre des images de films radicalement différents ? Parce que ces images convoquent des motifs visuels qui hantent le cinéma depuis ses origines : la fenêtre, la nuque, l’escalier, le miroir, le labyrinthe, le téléphone, le chat, le cri, et tant d’autres … Ces motifs ont des affinités profondes avec le langage et le récit cinématographiques. Ils sont de ce fait universels, pluriels, ambigus, et chaque cinéaste est incité à les adopter, les transformer et les réinterpréter. Les soixante motifs analysés et le millier de films cités donnent la mesure de l’impact visuel et narratif de ces images séminales, souvent reliées à la tradition picturale.
Research Interests: Communication, Visual Studies, Art History, Media Studies, Film Studies, and 15 moreGesture, Visual Culture, Film Analysis, Silent Film, Film History, Cinema, Film Aesthetics, Visual Arts, Film and Media Studies, Cinema Studies, Motifs, Histoire de l'art, Historia del Arte, Comparative studies, and Comunicación Audiovisual
Research Interests: Communication, Film Studies, Visual Culture, Propaganda, Nationalism, and 15 moreSpanish Cinema, Silent Film, Spanish History, Film History, Dictatorships, Cinema, Visual Arts, Spain, Barcelona, Film and Media Studies, Cinema Studies, Comunicacion, World's Fairs, History of Exhibitions, and Comunicación Audiovisual
Las mujeres que constituyen la materia de este libro fueron las estrellas femeninas más importantes de las cinematografías española, italiana y alemana, durante los años de la Segunda Guerra Mundial (1939-1945), en los que el nuevo... more
Las mujeres que constituyen la materia de este libro fueron las estrellas femeninas más importantes de las cinematografías española, italiana y alemana, durante los años de la Segunda Guerra Mundial (1939-1945), en los que el nuevo régimen totalitario en España coexiste con el nazismo alemán y el fascismo italiano. En las tres dictaduras, la censura ejerció un severo control no solo sobre los contenidos políticos, sino también sobre el erotismo y la sexualidad. Las "stars" femeninas de los fascismos trabajaron en connivencia, más o menos explícita, con la ideología de los Estados en los que desarrollaron su filmografía, pero su cuerpo habló (desde las imágenes) ofreciendo mensajes a menudo contradictorios con la moral imperante. Este libro propone un estudio de la gestualidad de dichos cuerpos, y se interroga sobre la tensión subyacente entre feminidad servil y feminidad liberada, entre sexualidad negada y afirmación erótica. A lo largo de sus páginas, se desgrana con minuciosidad la relación entre actuación e imaginario erótico en las filmografías de Imperio Argentina, Estrellita Castro, Ana Mariscal, Conchita Montenegro, Conchita Montes, Mercedes Vecino y Amparo Rivelles para la cinematografía española; Clara Calamai, Luisa Ferida, Anna Magnani, Isa Miranda, Assia Noris y Alida Valli en el contexto italiano, y Zarah Leander, Marika Rökk y Kristina Söderbaum para el caso alemán.
Research Interests: Art History, Performing Arts, Film Studies, Film Theory, Gesture, and 15 moreFilm Analysis, Gender and Sexuality, Fascism, Film History, Eroticism, German Cinema, Cinema, Gender and Cinema, Film musicals, Film and Media Studies, Cinema Studies, Nazism, Comunicación Audiovisual, Historia del Cine, and Erotismo
In this chapter, we explore how Ozu understood, filmed and used gags while tracing his influence on contemporary directors, in particular Aki Kaurismäki and Jim Jarmusch, who share the master's ability to combine realism and playfulness,... more
In this chapter, we explore how Ozu understood, filmed and used gags while tracing his influence on contemporary directors, in particular Aki Kaurismäki and Jim Jarmusch, who share the master's ability to combine realism and playfulness, family drama and comic relief, in a unique recipe for creating gags. We argue that the Ozuesque gag has been tremendously influential thanks to not only mise en scène but also a mode or tone (a combination of irony and nostalgia) that many contemporary filmmakers revere and embrace. The first part of the chapter highlights the key aspects of Ozu's gags, including modularity and stable irony, while the second explores how other directors have reinterpreted such elements in their work.
Research Interests: Japanese Studies, Art History, Media Studies, Film Studies, Film Theory, and 19 moreComedy, Humor, Film Analysis, Japanese Cinema, Film History, Film and History, Cinema, Film Aesthetics, Visual Arts, Yasujiro Ozu, Nostalgia, Film and Media Studies, Cinema Studies, Gestures, Irony, Jim Jarmusch, Comunicación Audiovisual, Aki Kaurismäki, and Cinema and Television
Thanks to collaborative database tools such as Cinemetrics, debates about how to apply quantitative methods to film and media research have flourished throughout the last decade. Numbers are being used to study very different kinds of... more
Thanks to collaborative database tools such as Cinemetrics, debates about how to apply quantitative methods to film and media research have flourished throughout the last decade. Numbers are being used to study very different kinds of moving images, from Japanese animation to popular television shows , but most literature has focused on the quantification of film style (average shot lengths, framing patterns, camera movement), considering the movies themselves as the main objects that deserved to be quantified. It is only natural that, due to the technological advances of new media, with specific software capable of automatically quantifying several aspects of a sequence, more attention has been paid to form (in order to quantify specific works and styles) and less to historiography. The possibility of backing historical hypothesis with solid data, using numbers, quantities and statistics that support it, has perhaps blurred the need to ask why should we do history with numbers in the first place and in which historiographical frame are we grounding our research. As Warren Buckland pointed out in his review of Barry Salt’s quantitative monograph "Moving into Pictures", the danger of such numerical methods is to construct a positivistic, tech-obsessed film history instead of a critical and humanistic one . That’s why our goal here is not to analyze specific data per se but to raise methodological questions about which kind of data may be quantified (the things we choose to count) and how that choice influences film historiography as a whole (the way we explain and do history). Why should quantitative methods be constrained to the assessment of form when they could be powerful aids to better understand the process of negotiating and questioning film history?
Research Interests: Visual Studies, Art History, Media Studies, Film Studies, Film Theory, and 15 moreQualitative methodology, Film Analysis, Quantitative Research, Film History, Quantitative Methods, Auteur Theory, Cinema, Film Aesthetics, Visual Arts, Film and Media Studies, Cinema Studies, Audiovisual, Personal Names, Comunicación Audiovisual, and Historia del Cine
Black Mirror es una distopía televisiva que pone al espectador contra las cuerdas, lo destrona de su confortable sillón y le obliga a tomar conciencia del asfixiante futuro digital que le espera; y siempre con la angustia latente de... more
Black Mirror es una distopía televisiva que pone al espectador contra las cuerdas,
lo destrona de su confortable sillón y le obliga a tomar conciencia del asfixiante
futuro digital que le espera; y siempre con la angustia latente de que pueda
acontecer algo inesperado ante el porvenir. Episodio tras episodio, este retablo
narrativo se convierte en «el Libro de Job» del homo tecnologicus, solo que en
este caso Dios no parece responder.
En estas páginas, académicos de distintas disciplinas se confabulan para re-visitar
la teleserie y darnos pistas que nos permitan ahondar un poco más en nuestro
mundo, tanto el presente como el que está por venir.
lo destrona de su confortable sillón y le obliga a tomar conciencia del asfixiante
futuro digital que le espera; y siempre con la angustia latente de que pueda
acontecer algo inesperado ante el porvenir. Episodio tras episodio, este retablo
narrativo se convierte en «el Libro de Job» del homo tecnologicus, solo que en
este caso Dios no parece responder.
En estas páginas, académicos de distintas disciplinas se confabulan para re-visitar
la teleserie y darnos pistas que nos permitan ahondar un poco más en nuestro
mundo, tanto el presente como el que está por venir.
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Research Interests: Television Studies, Comedy, Narrative, Popular Culture, Parenting, and 10 moreStand Up Comedy, Parent Child Relationships, Seriality, Comunicación y cultura, American serial television, Parental Involvement in Education, Audiovisual, TV shows, Comunicación Audiovisual, and Film and television studies
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¿Es la imagen que de la política ofrecen las series de televisión cínica o utópica? Este libro nace con la pretensión de dar cuenta de las series pertenecientes al drama político y, gracias al análisis de los autores que conforman esta... more
¿Es la imagen que de la política ofrecen las series de televisión cínica o utópica? Este libro nace con la pretensión de dar cuenta de las series pertenecientes al drama político y, gracias al análisis de los autores que conforman esta obra, describir la representación de lo político en el imaginario televisivo de ficción contemporáneo. Para hacerlo, se ha dado cierta e inevitable primacía a la producción estadounidense (House of Cards, The Good Wife, The Newsroom, Louie, The Kennedys), seguida de la ficción anglosajona y europea (Borgen, The Hour, The Thick of It, The Red Riding Trilogy, Crematorio). Uno de los ejes que trata este monográfico es si la imagen política ofrecida en dichas representaciones audiovisuales es utópica o más bien distópica y cínica. La función de cuarto poder del periodismo en la era de la convergencia mediática y la llamada nueva política es también un tema importante en este volumen.
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Research Interests: Visual Studies, New Media, Comedy, Visual Culture, Video Games, and 17 moreFan Studies, Machinima, Video Game Theory, Transmedial Storytelling, Fandom, Glitch studies, Fan Theory and Culture, Convergence Culture, Video Game Studies, Appropriation, Fan Fiction, Film and Television Comedy, Comunicación Audiovisual, Mods, Glitch Art, Super Mario Bros., and Fanvids
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La presente comunicación rastrea los antecedentes históricos y audiovisuales de una de las imágenes más significativas de la “crisis” económica española: la fotografía de Rodrigo Rato tocando la campana el día de la salida a bolsa de... more
La presente comunicación rastrea los antecedentes históricos y audiovisuales de una de las imágenes más significativas de la “crisis” económica española: la fotografía de Rodrigo Rato tocando la campana el día de la salida a bolsa de Bankia, el 20 de julio de 2011. Enmarcada en el proyecto Motivos visuales en la esfera pública. Producción y circulación de imágenes del poder en España, 2011-2017 (CSO2017-88876-P), esta investigación pone el foco en los complejos significantes político-económicos que el motivo visual de la salida a bolsa arrastra, comparando representaciones clave del imaginario cinematográfico (del cine burlesco al Dr. Mabuse, L’Argent, Michelangelo Antonioni o múltiples films hollywodienses) con un estudio cuantitativo y cualitativo de cientos de fotografías de los principales periódicos españoles durante el período analizado, además de entrevistas a editores gráficos y fotoperiodistas.
Como se ha señalado desde ámbitos tan diversos como la filosofía política (Agamben, 2008), la antropología comparada (Graeber, 2011), los estudios visuales (Mitchell, 2005) o la estadística económica (Piketty, 2015), actualmente el imaginario político presenta una interdependencia clarísima, exponencial, con el ámbito económico y, sobre todo con lo que Susan Sontag llamaba el “mercado de las imágenes” (1977), es decir, las formas y códigos de representación visual del poder en la contemporaneidad. Tras haber realizado investigaciones previas sobre imágenes económicas (Garin y Fernández, 2021) en el marco del mencionado proyecto MICINN, esta comunicación se focaliza en los significantes audiovisuales –también sonoros– de lo que es considerado por la propia Bolsa de Nueva York (NYSE) en sus vídeos promocionales como “the sound of capitalism”, la campana de apertura y cierre. Comparando material de archivo de las propias instituciones financieras (films publicitarios, fotografía corporativa, sonidos) con los referentes cinematográficos citados, se indagará en la compleja red de interpretaciones que el motivo suscita y las graves problemáticas sociales e históricas que esconde.
Como se ha señalado desde ámbitos tan diversos como la filosofía política (Agamben, 2008), la antropología comparada (Graeber, 2011), los estudios visuales (Mitchell, 2005) o la estadística económica (Piketty, 2015), actualmente el imaginario político presenta una interdependencia clarísima, exponencial, con el ámbito económico y, sobre todo con lo que Susan Sontag llamaba el “mercado de las imágenes” (1977), es decir, las formas y códigos de representación visual del poder en la contemporaneidad. Tras haber realizado investigaciones previas sobre imágenes económicas (Garin y Fernández, 2021) en el marco del mencionado proyecto MICINN, esta comunicación se focaliza en los significantes audiovisuales –también sonoros– de lo que es considerado por la propia Bolsa de Nueva York (NYSE) en sus vídeos promocionales como “the sound of capitalism”, la campana de apertura y cierre. Comparando material de archivo de las propias instituciones financieras (films publicitarios, fotografía corporativa, sonidos) con los referentes cinematográficos citados, se indagará en la compleja red de interpretaciones que el motivo suscita y las graves problemáticas sociales e históricas que esconde.
Research Interests: History, Communication, Visual Studies, Photography, Visual Culture, and 15 moreCritical Thinking, Language and Power, Politics, Soundscape Studies, Political communication, Sound, Civil Society and the Public Sphere, Stock Market, Film and Media Studies, Economy, Cinema Studies, Audiovisual, Ciencias de la Comunicación, Medios de comunicación y poder, and Political Economy and History
The symposium assembles European scholars and researchers to discuss the representation of precarity in contemporary and recent European cinema. The discussion will focus on both the differences in the diverse countries and regions, and... more
The symposium assembles European scholars and researchers to discuss the representation of precarity in contemporary and recent European cinema. The discussion will focus on both the differences in the diverse countries and regions, and on shared tendencies and structural similarities. We will investigate prevalent topics and the recurring use of some character-types or roles; we will take a closer look at narrative and formal tendencies as well as prevailing genres; we will consider the diversity of national or regional cinematographic traditions (in the representation of poverty and precarity) in which the new films are positioned; finally, we will debate the extent to which productions refer to broader recent social change and political debates.
Research Interests: History, Communication, Censorship, Film Studies, Visual Culture, and 15 moreIberian Studies, Language and Power, Spanish Cinema, Film History, Social Exclusion, Precarity, Cinema, Documentary Film, Film and Media Studies, Cinema Studies, Portuguese Cinema, Contemporary Spanish Literature and Film, Audiovisual, Poverty and Inequality, and Comunicación Audiovisual
Presentation of the book "Reorienting Ozu. A Master and His Influence" (ed. Jinhee Choi) at King's College London, to which we contributed a chapter on Ozu's use of visual humor and his influence on contemporary filmmakers like Jim... more
Presentation of the book "Reorienting Ozu. A Master and His Influence" (ed. Jinhee Choi) at King's College London, to which we contributed a chapter on Ozu's use of visual humor and his influence on contemporary filmmakers like Jim Jarmusch and Aki Kaurismäki, titled "Playing The Holes: Notes on The Ozuesque Gag".
Research Interests: Japanese Studies, Art History, Film Studies, European Cinema, Influence, and 15 moreComedy, Humor, Japanese Cinema, Film History, East Asian Cinema, Cinema, Visual Arts, Yasujiro Ozu, Film and Media Studies, Humour Studies, Cinema Studies, Historia del Arte, Jim Jarmusch, Comunicación Audiovisual, and Aki Kaurismäki
Presentation for the research workshop The Cultural Impact of May '68 in Japan, organized by GREGAL Research Group at Universitat Autònoma de Barcelona.
Research Interests: Japanese Studies, Avant-Garde Cinema, Film Studies, Comedy, Humor, and 15 moreRevolutions, Japanese History, Silent Film, Japanese Cinema, Japanese Art, Film History, Cinema, Art Theory and Politics, Japanese Art History, Experimental Film, Film and Media Studies, May 68, Historia del Arte, Comunicación Audiovisual, and Student Protest
CINE - College 18:00, Conferencia: Manuel Garin, autor del libro El gag visual, de Buster Keaton a Super Mario. 19:00 College (El colegial), James W. Horne, EUA, 1927, 68'. Domingo, 21 Octubre 2018 Lugar: Cine - Sala 1 Organizador:... more
CINE - College
18:00, Conferencia: Manuel Garin, autor del libro El gag visual, de Buster Keaton a Super Mario.
19:00 College (El colegial), James W. Horne, EUA, 1927, 68'.
Domingo, 21 Octubre 2018
Lugar: Cine - Sala 1
Organizador: Tabakalera
18:00, Conferencia: Manuel Garin, autor del libro El gag visual, de Buster Keaton a Super Mario.
19:00 College (El colegial), James W. Horne, EUA, 1927, 68'.
Domingo, 21 Octubre 2018
Lugar: Cine - Sala 1
Organizador: Tabakalera
Research Interests: Art History, Media Studies, Performing Arts, Film Studies, Comedy, and 15 moreHumor, Contemporary Art, Literature and cinema, Silent Film, Buster Keaton, Performance, Film History, Cinema, Visual Arts, Film and Media Studies, Hollywood, Sports, Cinema Studies, Silent Cinema, and Comunicación Audiovisual
In line with the conference’s aim to rethink the transformative and positive aspects of humor, this paper explores how Internet users from around the world have produced comedic videos (in YouTube and other online platforms) that... more
In line with the conference’s aim to rethink the transformative and positive aspects of humor, this paper explores how Internet users from around the world have produced comedic videos (in YouTube and other online platforms) that celebrate, mock and remake the Nintendo video game character Super Mario. Three decades after his debut in "Donkey Kong", Mario has become to game culture what Chaplin was to silent film and Mickey Mouse to cartoons, a transcultural topos, an icon that fosters intense cultural remediation while opening new paths to study the intersection of humor and new media. Therefore, the main goal of this paper will be to analyze an aesthetically varied but still humor-specific sample of user generated videos, relating them to previous comedic modes and traditions, in order to grasp how Internet remakes are currently reshaping humor in empowering but nevertheless problematic ways. Looking backwards to the history of visual comedy (from vaudeville to silent cinema, the operational aesthetic or black humor), the paper aims to identify a series of comedic tropes that, thanks to the agency and imagination of video game users, are now expanding the role of Super Mario as a cultural icon.
Research Interests: Communication, Visual Studies, Game studies, Media Studies, New Media, and 15 moreComedy, Humor, Visual Culture, Video Games, Silent Film, Machinima, Fan Cultures, Fandom, Comparative Media Studies, Humor Studies, Film and Media Studies, Youtube, Humour Studies, Comunicacion, and Comunicación Audiovisual
The role cinema played in the Barcelona 1929 World Fair is still one of the least researched aspects of this international exposition, the second one held in the city after the 1888 edition. Mostly remembered today for its architectural... more
The role cinema played in the Barcelona 1929 World Fair is still one of the least researched aspects of this international exposition, the second one held in the city after the 1888 edition. Mostly remembered today for its architectural landmarks, specially the astounding Mies van der Rohe pavilion, the exposition exemplifies three analytical dimensions that we find deeply tied to the current historical juncture in Europe, and therefore worth exploring at Film Forum, because each one of those issues has strong critical ties with film history, exhibition and creation.
The first one is the centuries-old clash between Catalan and Spanish identities, since the original plans for the exposition (which date back to the early 1910s) had to be radically altered when dictator Primo de Rivera seized power in the 1923 coup d’état, delaying the fair’s planned date to match the Sevilla Iberoamerican Exhibition and also banning multiple signifiers of Catalan culture. The second has to do with the shifts in industrial and economic practices of the time, since the original plans to devote the exposition to the theme of Electricity were altered in the mid 20s, finally consecrating it to the liaisons between Industry, Sports and Art. Thirdly, cinema-wise, those same years mark a change of primacy in the Spanish film industry, going from a production context largely based in Barcelona (which was Spain’s early and silent film capital) to one based in Madrid, with an exciting avant-garde scene linked to the cultural journal La Gaceta Literaria, with emerging talents like Luis Buñuel, Salvador Dalí or Florián Rey.
We know that a 10.000 m² Projections Palace was built for the occasion, and later demolished to host the current Palau de Congressos, but beyond visual and written records of its existence, what was the role cinema played in it? In which ways, from promotional screenings to newsreel coverage and artistic exhibition, did film shape the impact of Barcelona’s Exposition? The aim of this paper is to dig deep into the historical sources available at Filmoteca de Catalunya, the National Archive of Catalonia and the Barcelona Museum of History, in order to gain a clearer picture of how cinema was exhibited and to what extent it contributed to the volatile atmosphere of the time (the 1929 Great Crash took place during the exposition, and the Spanish Second Republic was proclaimed not long after). Thus we hope that the combination of quantitative methodologies applied to remaining film programs with critical interpretations of the historical context will shed light on the role of cinema and moving images around those years, specially in comparison with the exhibit of Spanish film in the 1937 Paris Exposition, juxtaposing cinema with other arts. Finally, and more importantly for us today, is the fact that perhaps by analyzing the political and cultural junctures of the past, through its images, we might be able to better understand (and cope with) the complex present of Catalonia, Spain and Europe.
The first one is the centuries-old clash between Catalan and Spanish identities, since the original plans for the exposition (which date back to the early 1910s) had to be radically altered when dictator Primo de Rivera seized power in the 1923 coup d’état, delaying the fair’s planned date to match the Sevilla Iberoamerican Exhibition and also banning multiple signifiers of Catalan culture. The second has to do with the shifts in industrial and economic practices of the time, since the original plans to devote the exposition to the theme of Electricity were altered in the mid 20s, finally consecrating it to the liaisons between Industry, Sports and Art. Thirdly, cinema-wise, those same years mark a change of primacy in the Spanish film industry, going from a production context largely based in Barcelona (which was Spain’s early and silent film capital) to one based in Madrid, with an exciting avant-garde scene linked to the cultural journal La Gaceta Literaria, with emerging talents like Luis Buñuel, Salvador Dalí or Florián Rey.
We know that a 10.000 m² Projections Palace was built for the occasion, and later demolished to host the current Palau de Congressos, but beyond visual and written records of its existence, what was the role cinema played in it? In which ways, from promotional screenings to newsreel coverage and artistic exhibition, did film shape the impact of Barcelona’s Exposition? The aim of this paper is to dig deep into the historical sources available at Filmoteca de Catalunya, the National Archive of Catalonia and the Barcelona Museum of History, in order to gain a clearer picture of how cinema was exhibited and to what extent it contributed to the volatile atmosphere of the time (the 1929 Great Crash took place during the exposition, and the Spanish Second Republic was proclaimed not long after). Thus we hope that the combination of quantitative methodologies applied to remaining film programs with critical interpretations of the historical context will shed light on the role of cinema and moving images around those years, specially in comparison with the exhibit of Spanish film in the 1937 Paris Exposition, juxtaposing cinema with other arts. Finally, and more importantly for us today, is the fact that perhaps by analyzing the political and cultural junctures of the past, through its images, we might be able to better understand (and cope with) the complex present of Catalonia, Spain and Europe.
Research Interests: Cultural Studies, Archival Studies, Visual Studies, Architecture, Film Studies, and 14 moreNationalism, Spanish Cinema, Silent Film, Film History, Cinema, Exhibition, Museum, Expositions and Worlds Fairs, Barcelona, Film and Media Studies, Cinema Studies, Silent Cinema, Film archives, World's Fairs, Misogyny, and International Expositions
Keynote talk at Columbia University's School of The Arts
Research Interests: Game Theory, Aesthetics, Visual Studies, Game studies, New Media, and 16 moreFilm Studies, Film Theory, Visual Culture, Film Analysis, Video Games, Silent Film, New Media Art, Cinema, Film Aesthetics, Visual Arts, New Media Studies, Film and Media Studies, Cinema Studies, Silent Cinema, Videojuegos, and Comunicación Audiovisual
Research Interests:
Research Interests: Spanish Literature, Avant-Garde Cinema, Film Studies, Comedy, Literature, and 16 moreHumor, Literature and cinema, Poetry, Buster Keaton, Film History, Literature and Visual Arts, Cinema, Avant-Garde, Visual Arts, Film and Media Studies, Luis Buñuel, Cinema Studies, Federico García Lorca, Slapstick, Comunicación Audiovisual, and Rafael Alberti
This paper studies the suicide gag as a way of eliciting laughter but also as a tool for critical thinking that radically questions our identity and our way of life. Suicide, or more specifically the failed suicide attempt, constitutes... more
This paper studies the suicide gag as a way of eliciting laughter but also as a tool for critical thinking that radically questions our identity and our way of life. Suicide, or more specifically the failed suicide attempt, constitutes one of the best-established film comedy tropes: since early cinema, filmmakers as varied as Kitano, Capra, Kaurismäki, Lloyd, Herzog, Buñuel, Keaton, Fassbinder, the Coen brothers, Godard or Tex Avery have employed it in different ways in their films. The recurrent use of suicide gags thus represents a constant of cinema that merits analysis from the perspective of film aesthetics and philosophy. Focusing on a specific type of gag, based on loops and failed attempts, this contribution analyses how suicide has been portrayed by filmmakers and comedians as a tool to question pre-established taboos, prevent social disregard and bring people together through laughter.
Since Émile Durkheim published his canonical study of suicide, the amount of works devoted to the subject has dramatically increased: books that underline its literary and humanistic dimensions (like Al Alvarez’ The Savage God), monographs focused on the clinical preventive standpoint (such as Kay Redfield Jamison’s Night Falls Fast), and even statistical surveys of suicide in movies. But the strong connections between suicide and visual comedy remain to be explored, both as a cultural trope and a potential therapeutic tool. Focusing on a specific motif among the numerous versions of suicide gags, the failed attempt loop, I will argue that such gags contribute to contemporary culture by raising public awareness of the contradictions of such a complex (and yet profoundly human) issue, instead of reinforcing fears and taboos.
Since Émile Durkheim published his canonical study of suicide, the amount of works devoted to the subject has dramatically increased: books that underline its literary and humanistic dimensions (like Al Alvarez’ The Savage God), monographs focused on the clinical preventive standpoint (such as Kay Redfield Jamison’s Night Falls Fast), and even statistical surveys of suicide in movies. But the strong connections between suicide and visual comedy remain to be explored, both as a cultural trope and a potential therapeutic tool. Focusing on a specific motif among the numerous versions of suicide gags, the failed attempt loop, I will argue that such gags contribute to contemporary culture by raising public awareness of the contradictions of such a complex (and yet profoundly human) issue, instead of reinforcing fears and taboos.
Research Interests:
Research Interests:
Research Interests:
Seminario internazionale | 27 settembre 2018, h. 9.30-20.00, Barcelona. I. ARIANNA: ESTATICA MELANCONIA II: MOTIUS VISUALS A L’ ESFERA PÚBLICA Including contributions by: Sara Agnoletto, Monica Centanni, Victoria Cirlot, Maurizio... more
Seminario internazionale | 27 settembre 2018, h. 9.30-20.00, Barcelona.
I. ARIANNA: ESTATICA MELANCONIA
II: MOTIUS VISUALS A L’ ESFERA PÚBLICA
Including contributions by: Sara Agnoletto, Monica Centanni, Victoria Cirlot, Maurizio Ghelardi, Silvia de Laude, Matías Julián Nativo, Clio Nicastro, Alessia Prati, Thays Tonin, Daniel Villamediana. Jordi Balló,Eduard Cairol. Ana Aitana Fernández , Manuel Garín, Mercè Oliva, Ivan Pintor, Alan Salvadó.
I. ARIANNA: ESTATICA MELANCONIA
II: MOTIUS VISUALS A L’ ESFERA PÚBLICA
Including contributions by: Sara Agnoletto, Monica Centanni, Victoria Cirlot, Maurizio Ghelardi, Silvia de Laude, Matías Julián Nativo, Clio Nicastro, Alessia Prati, Thays Tonin, Daniel Villamediana. Jordi Balló,Eduard Cairol. Ana Aitana Fernández , Manuel Garín, Mercè Oliva, Ivan Pintor, Alan Salvadó.