Books by Vicente Sánchez-Biosca
The Death in their Eyes: What Perpetrator Images Perpetrate, 2024
Images that embody the point of view of the perpetrators of violent crimes, or their accomplices,... more Images that embody the point of view of the perpetrators of violent crimes, or their accomplices, force us to look at the pain of victims through the eyes of those who caused it. Accompanied by over sixty visuals of historically infamous violence, The Death in their Eyes goes beyond the visible aspects of images to reveal what has been left outside of the frame. Covering human abuse and humiliation at Abu Ghraib, the Auschwitz Album, religious desecration during the Spanish Civil War, an unfinished Nazi propaganda film made at the Warsaw Ghetto in the
spring of 1942, and detainees at the S-21 torture center in Cambodia under the Khmer Rouge, this volume proposes a rigorous new methodology for analyzing perpetrator images, in photography and film, that continue to be used and re-appropriated in today's media.
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by Susan Larson, Jorge Gorostiza, Nuria Rodríguez Martín, Tom Whittaker, Josefina González Cubero, Alba Zarza-Arribas, Maria de Arana Aroca, Vicente Sánchez-Biosca, Leigh Mercer, Patty Keller, and Carlos Sambricio Architecture and the Urban in Spanish Film, 2021
Building on existing film and urban histories, this collection examines Spanish film through cont... more Building on existing film and urban histories, this collection examines Spanish film through contemporary interdisciplinary theories of urban space, the built environment, visuality, and mass culture from the industrial age to the digital present.
This edited volume brings together an international and interdisciplinary group of film, architecture, and urban studies scholars as they explore the reciprocal relationship between the seventh art and the built environment. The contributors explore a wide range of topics, including the role of film in the shifting relationship between private and public; the ways cinema as a new technology reshaped how cities and buildings are built and inhabited; the question of the mobile gaze; film and everyday life; monumentality and the construction of historical memory for a variety of viewing publics; and the effects of the digital and the virtual on filmmaking and spectatorship.
CONTRIBUTORS: Benjamin Fraser; Jorge Gorostiza; Nuria Rodríguez-Martín; David Foshee; Tom Whittaker; Juli Highfill; Patricia Keller; Josefina González-Cubero; Alba Zarza-Arribas; Emeterio Diez Puertas; María de Arana Aroca; Carlos Sambricio; Vicente Sánchez-Biosca; Samuel Amago; Leigh Mercer; Stephen. Luis Vilaseca
Intellect Books, distributed by the University of Chicago Press |
ISBN: 9781789384895
Publisher URL: https://press.uchicago.edu/ucp/books/book/distributed/A/bo123638318.html
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This article focuses on the images used over four decades to represent the Cambodian genocide in ... more This article focuses on the images used over four decades to represent the Cambodian genocide in photography, cinema, visual arts and the media as the basis for analyzing the documentary-memoir directed by Rithy Panh, The Missing Picture. First, there is a paucity of images which depict, evoke or allude to the crimes perpetrated by the Khmer Rouge (1975-1979); second, scholars raise objections about whether any image can adequately depict a catastrophic event such as genocide. This article begins by categorizing the Cambodian genocide iconography according to the modality of the visual production. After briefly classifying this visual output in four categories (perpetrator images, liberator images, belated evidential images, and creative imagery), the author questions the challenging visual strategies used in The Missing Picture. Rithy Panh adopts an unexpected and original dispositif in his documentary: an un-realistic imagery based on hand-carved clay figurines placed in a diorama-like setting, as the narrative is sustained by a first-person hypnotic voiceover that evokes the author's childhood memories under the Khmer Rouge rule. By juxtaposing these static figures with propaganda archival footage, Panh introduces an estrangement that paradoxically imbues the film continuum with an emotional tone ideal for conveying affliction. From a figurative perspective, this device avoids mimesis and draws upon a tradition of " animal stories " combined withanimation techniques. Beyond a representational point of view, the originality of The Missing Picture
draws on the search of a visual and narrative vocabulary destined to perform an exorcism from trauma; or, from another perspective, a self-therapeutic exercise through art and memory work.
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Cinema e Histórica. Circularidades, arquitos e experiência estética, 2017
The text aims at establishing a categorization of the images representing atrocity, political vio... more The text aims at establishing a categorization of the images representing atrocity, political violence, genocide and crimes against humanity, according to their enunciation process, that is, the relationship between the act in the making and the physical and ethical position of the visual dispositive. The article delves into the categories of perpetrator, liberator, and testimonial images through different case analysis.
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This text analyzes the migration of images representing the Cambodian genocide from the early pho... more This text analyzes the migration of images representing the Cambodian genocide from the early photographs and films following the fall of the Khmer Rouge until the impulse given to the past in the framework of the tribunal called Extraordinary Chambers in the Courts of Cambodia.
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Este texto analisa as reapropriações de uma fotografia de perpetradores produzida em um contexto ... more Este texto analisa as reapropriações de uma fotografia de perpetradores produzida em um contexto totalitário em que a posse da imagem do detido significa não só a destruição da pessoa como a eliminação das marcas de sua destruição. A cena é de um centro de tortura e prisão conhecido como S-21 durante o governo Khmer Vermelho (de abril de 1975 a janeiro de 1979) no Camboja. A imagem escolhida mostra uma prisioneira, chamada Hout Bophana, e o mug shot em questão é parte do arquivo existente com cerca de 6 mil imagens conservadas e mantidas pela polícia de repressão do Kampuchea Democrática para perseguir traidores.
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This chapter analyzes the relationship between historical events, images and the charisma of Comm... more This chapter analyzes the relationship between historical events, images and the charisma of Communist Spanish leader Santiago Carrillo on three key moments of the Spanish Transition to Democracy: 1971, when Spanish Communist Party held a mass rally in Paris announcing the decision to fight the Franco Dictatorship from within: 1977, when a group of lawyers attached to the Party were massacred by the extremist fascist squad in January 1977, and February 1981 as the military attacked the Parliament in an attempt of coup.
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Pasados cuarenta años del inicio de la Transición española, el interés por este fascinante períod... more Pasados cuarenta años del inicio de la Transición española, el interés por este fascinante período no ha dejado de crecer. Auténtico ritornello de la vida política, ha servido para iluminar los dilemas del presente o celebrar su éxito como fórmula magistral para instaurar la democracia. Este libro analiza un aspecto poco explorado del mismo: las relaciones entre el carisma de los líderes políticos, los acontecimientos decisivos de la historia y la función de las imágenes reproducidas en los medios de comunicación para plasmar y transmitir unos y otros.
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The Act of Killing. Cine y violencia gobal (Roberto Cueto ed.).
This article, which is the opening text to a book entitled The Act of Killing, deals with the ne... more This article, which is the opening text to a book entitled The Act of Killing, deals with the new strategies, both ethic and aesthetic, that characterize the representation of mass violence, war crimes and genocide since the turn of the 21st century, including the practice of reenactment, the turning of attention to the perpetrators and the treatment of archive footage and testimonies in documentaries.
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An " Asian Auschwitz, " this is how journalist John Pilger describes Tuol Sleng after visiting it... more An " Asian Auschwitz, " this is how journalist John Pilger describes Tuol Sleng after visiting it for the first time in 1979. Originally a high school in residential Phnom Penh, the place was used by the Khmer Rouge as detention and interrogation center under the code name S-21. Described by historian David Chandler as a " total institution " (in reference to Erving Goffman's work), it was at the top of a nationwide apparatus of terror. After the fall of the Pol Pot's regime, the new authorities converted it into a memorial museum open to Cambodian and foreign visitors. From the beginning Tuol Sleng was a key element in the politics of memory of the Cambodian government. The numerous documents found in the compound as well as the unchanged state of the cells and the facilities abandoned in the run by the Khmer Rouge were crucial for the new regime to denounce their predecessors before the international community. At the same time, the remains of S-21 and all its documentation also served the discourse of those contesting the Vietnamese intervention in Cambodia and the regional situation emerging out of the Indochina Wars. Over the years Tuol Sleng has become a well-known 'lieu de mémoire'—a process in which the movie S-21: The Khmer Rouge Killing Machine by film director Rithy Panh and the trial of former commander Duch at the ECCC played a central role. Supported by the UNESCO as Cambodia's heritage, the museum is one of the most visited spots in Phnom Penh. It features in books, movies, public exhibitions, blogs, works of art, printed and electronic media. Its photographic record of extermination and the series of paintings by survivor Vann Nath depicting the suffering of his fellow S-21 prisoners are a source of iconic images for the representation of Khmer Rouge atrocities. Biographical, academic, journalistic, judicial, and artistic accounts of Tuol Sleng create a multifaceted perspective on the place. Yet, as the recent controversy over the victims' names to be engraved on the memorial stupa shows it, Tuol Sleng being both a national and transnational site of memory crystallizes tensions in terms of interpretation and representation. It is the physical and symbolic arena where a series of conflicts—such as transformation vs. preservation or mourning vs. exhibition—are at play. The seminar seeks to explore such a diversity of views and on this basis reconstruct to some extent the forty year-long history of Tuol Sleng as major landmark in the Cambodian traumascape. We propose to look at different registers and mediums of expression and examine how these articulate emotional, moral, and political demands. We also intend to investigate the transformation of narratives in and around Tuol Sleng in the context of transition into the postcolonial and the post-Cold War era. We are interested in discussing how this affects the historical function of S-21/Tuol Sleng, what aspects are excluded or left untouched in the process, and finally how the museum shapes the remembrance and understanding of the Cambodian Genocide.
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On the 10th of January, a group of Vietnamese cameramenunder the direction of Ho Van Thayfilmed a... more On the 10th of January, a group of Vietnamese cameramenunder the direction of Ho Van Thayfilmed an indefinite number of shots as they entered Phnom Penh, the capital of the defeated Khmer Rouge. Among them, was the footage showing the discovery of the most infamous prison conceived by the regime for the torture and extermination of its enemies: S-21. The footage was brought to Ho Chi Minh City and never released as such in the form of a film. This articles closely examines the migration of this footage over the years until its reappearance, as silent footage.
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The Spanish Transition to democracy has originated one of the most solid narratives built by the ... more The Spanish Transition to democracy has originated one of the most solid narratives built by the press in recent History. Its turning point is represented by the acts of violence that spread in Madrid during the
socalled ‘black week’ (end of January 1977). Its apex was the massacre of a group of communist lawyers by fascist gunmen. This articles analyzes different layers in the buildingup of this event: a chapter
of the TV series La Transición (Elías Andrés, Victoria Prego, 1995), the film Siete días de enero (J.A. Bardem, 1978), a reportage published by the magazine Interviú (February 1977), and the chronicle made by
the journals El País, Diario16 and the communist Mundo Obrero. All over the article, the emphasis is put on Santiago Carrillo, the communist leader who managed to handle the situation reaching his party’s
legalization only two months later.
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A History of Cinema Without Names (Diego Cavallotti Federico Giordano Leonardo Quaresima eds.)
On January 7 1979, forces of the Vietnamese Army entered the ghost city of Phnom Penh. Surprising... more On January 7 1979, forces of the Vietnamese Army entered the ghost city of Phnom Penh. Surprisingly enough, the images diffused over the following weeks and months were rather dismaying and even surrealistic. The peak of the imagery was represented by an appalling ten-minute piece showing the discovery of S-21. The purpose of this text is closely analyze the genres of images (liberators, perpetrators...) used to represent the Cambodian Genocide during almost four decades, cinematic as well as photographic.
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El presente texto analiza cómo el noticiario oficial del franquismo, conocido popularmente como N... more El presente texto analiza cómo el noticiario oficial del franquismo, conocido popularmente como NO-DO, dio cuenta a lo largo de las dos primeras décadas del régimen de la ciencia. Contra la primera sensación, el noticiario encuadró la ciencia en varios géneros, siendo el de divulgación científica el menos voluminoso. La aplicación de la ciencia en la tecnología, las curiosidades e incluso los inventos constituyeron espacios más interesantes para su difusión. En este sentido, el texto llama la atención sobre la importancia del salto durante los años cincuenta que se produce encarando el desarrollismo, nueva mitología del franquismo para los años sesenta.
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Quelle que soit l'indifférence de NO-DO a l'égard del'actualité nationale et internationale, il n... more Quelle que soit l'indifférence de NO-DO a l'égard del'actualité nationale et internationale, il n'en reste pas moinspertinent de déterminer le rôle que les autorités du régime lui conféraient en ce qui concerne la création d'une image (peu importe qu'elle eût été presque intemporelle) de la vie idéale du pays, en accord avec l'idéologie franquiste. 11 n'est pas dû au hasard si NO-DO contribue à bâtir pendant ces années une nouvelle image de Franco et, par là, une nouvelle définition implicite de son régime. Aussi paradoxal que cela puisse paraître, la présence matérielle de Franco en tant que chef d'état augmente â l'intérieur des actualités. Cependant, elle manifeste un virage consistant à la construction d'une image surprenante et jusque lâ jamais vue du Caudillo. En effet, si les années 40 avaient vu surgir l'image d'un militaire victorieux, d'un chef fasciste (en chemise bleu de Phalangiste) ou du Caudillo acclamé par son peuple, a partir de 1953, un effort est fait pour montrer le dictateur dépourvu la plupart du temps de son uniforme militaire, en habits civils, dans l'íntimité et entouré de sa famille; Franco est désormais présenté comme un père, un grand-père et un époux chrétien, bienveillant et pacifique. Ce changement d'image est, bien évidemment, un geste fortement symbolíque: il coincide avec l'évanouissement sans trop de bruit de la paraphernalia initiale du régime. En fin de compte, NO-DO, par son exclusivité, l'obligation de sa projection et sa condition de véhicule idéologique du franquisme, était, dans ses silences et ses procédés indirects, l'expression privilégiée d'un régime qui avait décidé d' abandonner toute une série de signes d'identité et était en quete d'autres. Ceux-ci auraient leur manifestation spectaculaire dans l'effort de développement économique [desarrollismo] des années 60 et dont le signe le plus visible est le tourisme. Mais cette nouvelle imagerie appartient a un autre chapitre de l'histoire.
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Las noticias de la Segunda Guerra Mundial constituyeron sin lugar a dudas la única exigencia irre... more Las noticias de la Segunda Guerra Mundial constituyeron sin lugar a dudas la única exigencia irremisible de dar cuenta del presente y la necesidad de pronunciamiento ideológico que tuvo que afrontar NO-DO nada más nacer, más allá de las cómodas fantasías imperiales para consumo interno. Es decir, en ese momento NO-DO estaba llamado a representar el aparato ideológico del régimen y a establecer una interpretación de la historia y el acontecimiento donde ambos extremos debían abrocharse era la Segunda Guerra Mundial. Ello no se debía al azar, pues en el conflicto bélico mundial se estaba jugando el futuro político del régimen al tiempo que se vivía, en una suerte de correlato objetivo, la definición ideológica que el franquismo todavía no había logrado (y quizá nunca lograría) formalizar.
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The Frocoist newsreel, popularly known as NO-DO, appeared on spanish screens in January 1943. Cre... more The Frocoist newsreel, popularly known as NO-DO, appeared on spanish screens in January 1943. Created as an audiovisual propaganda tool by the new state, it had for decades the privilege of its exclusivity and mandatory projection in all national cinema theaters. Despite experienced many changes experienced in the Spanish society through the decades, the Newsreel remained until 1981, when the regime that gave it birth had already disappeared. As a matter of fact, NO-DO was not only an instrument of political propaganda, but as time goes on the most im portant arsenal of images for the 1940s and 1950s and one of the most important ones for the following decade. This book analuizes the burucratic complexity of the institution and its changes as well as the genres that charactize this site of memory of Span ish 20 th Century.
El Noticiario Cinematográfico Español, popularmente conocido como NO-DO, vio las pantallas cinematográficas por vez primera en enero de 1943. Creado como instrumento audiovisual del nuevo Estado, gozó durante décadas del privilegio de su exclusividad y su proyección fue obligatoria en todos los cines de España. A pesar de los numerosos cambios que experimentó la sociedad española, el Noticiario permanece hasta bien entrada la democracia, en 1981. Pero NO-DO no fue sólo un instrumento de propaganda política. Su condición de noticiario cinematográfico hace de él un dispositivo informativo, bien que sesgado, de entretenimiento y de variedades que acompañaba puntualmente los programas de las salas de proyección. A través del conjunto de su producción (Noticiario, revista semanal titulada Imágenes y documentales), NO-DO constituye el arsenal audiovisual más importante, y hasta la fecha inexplorado, para documentar la vida del franquismo, al menos hasta la llegada de la televisión, con la que comparte protagonismo desde finales de los años cincuenta. NO-DO. El tiempo y la memoria es el resultado de una investigación que durante ocho años han llevado a cabo Rafael R. Tranche (Universidad Complutense) y Vicente Sánchez-Biosca (Universidad de Valencia) con el objetivo de establecer las condiciones políticas, ideológicas y jurídicas que llevaron a la creación del organismo, ubicándolo en cada momento en un lugar estratégico de la administración y asignándole tareas de información, propaganda y entretenimiento a lo largo de casi cuatro décadas. Igualmente, el libro plantea un análisis minucioso de la elección y construcción de las noticias, su disposición en el seno del Noticiario, su estilo de lenguaje y la representatividad de sus imágenes respecto a la sociedad española de su tiempo.
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La guerra civil española (1936-1939) asoló nuestro país con una contienda fratricida que dejaría ... more La guerra civil española (1936-1939) asoló nuestro país con una contienda fratricida que dejaría huellas indelebles en varias generaciones de españoles. Al tiempo, otro combate no menos intenso se libró en el terreno de las ideas, cuya máxima expresión serían la propaganda política y los medios de comunicación de masas. Todas las disyuntivas internacionales (democracia/totalitarismos, intervencionismo/solidaridad, guerra total/defensa popular, nuevos sistemas de producción de imágenes/instrumentalización política) se dieron cita en nuestro territorio creando un nuevo imaginario bélico donde la población civil cobraría un protagonismo insólito. El pasado es el destino es el fruto de la investigación sobre las estrechas relacines entre propaganda, medios de comunicación y cine del llamado bando nacional durante la contienda y la inmediata posguerra. En esos años el incipiente Estado franquista intenta edificar un aparato de propaganda destinado a ganar la guerra en todos los frentes y lograr un rápido adoctrinamiento de la población. En el corazón de estas operaciones está el Departamento Nacional de Cinematografía (1938-1941), que puso en pie una producción eficaz compuesta por una veintena de documentales y el Noticiario español. El presente estudio analiza sus imágenes (y las ofrece por primera vez, tal y como fueron concebidas, en el DVD que incluye esta edición) en relación con el conjunto de la producción nacional y como respuesta a las iniciativas del bando republicano. Todo ello permitirá al lector/espectador adentrarse en uno de los períodos más convulsos(y por ello apasionantes) de nuestra historia reciente, aunque el clamor de las palabras y lo hiriente de las imágenes parezcan ya muy lejanos.
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The images of atrocity, either analog or digital, are always the trace of an encounter between th... more The images of atrocity, either analog or digital, are always the trace of an encounter between the gaze of a photographer or a cameraman and a human being suffering from the painful effects of man-made violence. The archive images resulting from such an encounter raise some inevitable questions: who took them and for what purpose? Is it possible to retrace the process that led to these shots? What do they hide behind what the eye can see? Owing to their defective nature and the changes they have endured throughout history, these images strongly contribute to shape collective memory by becoming real sites of memory for ethnic or national communities. Therefore, the archive of human pain, encompassing a wide range of public spaces – such as museums, monuments, artworks, memorials, human rights associations and so on – is a reservoir of images to stimulate grief or fuel action for social change. This introduction has two main aims: on the one hand, it investigates the circulation of such images within the visual sphere and their social or political uses; on the other hand, it provides the paths of research and the new findings extensively analysed in the contributions included in this volume.
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Books by Vicente Sánchez-Biosca
spring of 1942, and detainees at the S-21 torture center in Cambodia under the Khmer Rouge, this volume proposes a rigorous new methodology for analyzing perpetrator images, in photography and film, that continue to be used and re-appropriated in today's media.
This edited volume brings together an international and interdisciplinary group of film, architecture, and urban studies scholars as they explore the reciprocal relationship between the seventh art and the built environment. The contributors explore a wide range of topics, including the role of film in the shifting relationship between private and public; the ways cinema as a new technology reshaped how cities and buildings are built and inhabited; the question of the mobile gaze; film and everyday life; monumentality and the construction of historical memory for a variety of viewing publics; and the effects of the digital and the virtual on filmmaking and spectatorship.
CONTRIBUTORS: Benjamin Fraser; Jorge Gorostiza; Nuria Rodríguez-Martín; David Foshee; Tom Whittaker; Juli Highfill; Patricia Keller; Josefina González-Cubero; Alba Zarza-Arribas; Emeterio Diez Puertas; María de Arana Aroca; Carlos Sambricio; Vicente Sánchez-Biosca; Samuel Amago; Leigh Mercer; Stephen. Luis Vilaseca
Intellect Books, distributed by the University of Chicago Press |
ISBN: 9781789384895
Publisher URL: https://press.uchicago.edu/ucp/books/book/distributed/A/bo123638318.html
draws on the search of a visual and narrative vocabulary destined to perform an exorcism from trauma; or, from another perspective, a self-therapeutic exercise through art and memory work.
socalled ‘black week’ (end of January 1977). Its apex was the massacre of a group of communist lawyers by fascist gunmen. This articles analyzes different layers in the buildingup of this event: a chapter
of the TV series La Transición (Elías Andrés, Victoria Prego, 1995), the film Siete días de enero (J.A. Bardem, 1978), a reportage published by the magazine Interviú (February 1977), and the chronicle made by
the journals El País, Diario16 and the communist Mundo Obrero. All over the article, the emphasis is put on Santiago Carrillo, the communist leader who managed to handle the situation reaching his party’s
legalization only two months later.
El Noticiario Cinematográfico Español, popularmente conocido como NO-DO, vio las pantallas cinematográficas por vez primera en enero de 1943. Creado como instrumento audiovisual del nuevo Estado, gozó durante décadas del privilegio de su exclusividad y su proyección fue obligatoria en todos los cines de España. A pesar de los numerosos cambios que experimentó la sociedad española, el Noticiario permanece hasta bien entrada la democracia, en 1981. Pero NO-DO no fue sólo un instrumento de propaganda política. Su condición de noticiario cinematográfico hace de él un dispositivo informativo, bien que sesgado, de entretenimiento y de variedades que acompañaba puntualmente los programas de las salas de proyección. A través del conjunto de su producción (Noticiario, revista semanal titulada Imágenes y documentales), NO-DO constituye el arsenal audiovisual más importante, y hasta la fecha inexplorado, para documentar la vida del franquismo, al menos hasta la llegada de la televisión, con la que comparte protagonismo desde finales de los años cincuenta. NO-DO. El tiempo y la memoria es el resultado de una investigación que durante ocho años han llevado a cabo Rafael R. Tranche (Universidad Complutense) y Vicente Sánchez-Biosca (Universidad de Valencia) con el objetivo de establecer las condiciones políticas, ideológicas y jurídicas que llevaron a la creación del organismo, ubicándolo en cada momento en un lugar estratégico de la administración y asignándole tareas de información, propaganda y entretenimiento a lo largo de casi cuatro décadas. Igualmente, el libro plantea un análisis minucioso de la elección y construcción de las noticias, su disposición en el seno del Noticiario, su estilo de lenguaje y la representatividad de sus imágenes respecto a la sociedad española de su tiempo.
spring of 1942, and detainees at the S-21 torture center in Cambodia under the Khmer Rouge, this volume proposes a rigorous new methodology for analyzing perpetrator images, in photography and film, that continue to be used and re-appropriated in today's media.
This edited volume brings together an international and interdisciplinary group of film, architecture, and urban studies scholars as they explore the reciprocal relationship between the seventh art and the built environment. The contributors explore a wide range of topics, including the role of film in the shifting relationship between private and public; the ways cinema as a new technology reshaped how cities and buildings are built and inhabited; the question of the mobile gaze; film and everyday life; monumentality and the construction of historical memory for a variety of viewing publics; and the effects of the digital and the virtual on filmmaking and spectatorship.
CONTRIBUTORS: Benjamin Fraser; Jorge Gorostiza; Nuria Rodríguez-Martín; David Foshee; Tom Whittaker; Juli Highfill; Patricia Keller; Josefina González-Cubero; Alba Zarza-Arribas; Emeterio Diez Puertas; María de Arana Aroca; Carlos Sambricio; Vicente Sánchez-Biosca; Samuel Amago; Leigh Mercer; Stephen. Luis Vilaseca
Intellect Books, distributed by the University of Chicago Press |
ISBN: 9781789384895
Publisher URL: https://press.uchicago.edu/ucp/books/book/distributed/A/bo123638318.html
draws on the search of a visual and narrative vocabulary destined to perform an exorcism from trauma; or, from another perspective, a self-therapeutic exercise through art and memory work.
socalled ‘black week’ (end of January 1977). Its apex was the massacre of a group of communist lawyers by fascist gunmen. This articles analyzes different layers in the buildingup of this event: a chapter
of the TV series La Transición (Elías Andrés, Victoria Prego, 1995), the film Siete días de enero (J.A. Bardem, 1978), a reportage published by the magazine Interviú (February 1977), and the chronicle made by
the journals El País, Diario16 and the communist Mundo Obrero. All over the article, the emphasis is put on Santiago Carrillo, the communist leader who managed to handle the situation reaching his party’s
legalization only two months later.
El Noticiario Cinematográfico Español, popularmente conocido como NO-DO, vio las pantallas cinematográficas por vez primera en enero de 1943. Creado como instrumento audiovisual del nuevo Estado, gozó durante décadas del privilegio de su exclusividad y su proyección fue obligatoria en todos los cines de España. A pesar de los numerosos cambios que experimentó la sociedad española, el Noticiario permanece hasta bien entrada la democracia, en 1981. Pero NO-DO no fue sólo un instrumento de propaganda política. Su condición de noticiario cinematográfico hace de él un dispositivo informativo, bien que sesgado, de entretenimiento y de variedades que acompañaba puntualmente los programas de las salas de proyección. A través del conjunto de su producción (Noticiario, revista semanal titulada Imágenes y documentales), NO-DO constituye el arsenal audiovisual más importante, y hasta la fecha inexplorado, para documentar la vida del franquismo, al menos hasta la llegada de la televisión, con la que comparte protagonismo desde finales de los años cincuenta. NO-DO. El tiempo y la memoria es el resultado de una investigación que durante ocho años han llevado a cabo Rafael R. Tranche (Universidad Complutense) y Vicente Sánchez-Biosca (Universidad de Valencia) con el objetivo de establecer las condiciones políticas, ideológicas y jurídicas que llevaron a la creación del organismo, ubicándolo en cada momento en un lugar estratégico de la administración y asignándole tareas de información, propaganda y entretenimiento a lo largo de casi cuatro décadas. Igualmente, el libro plantea un análisis minucioso de la elección y construcción de las noticias, su disposición en el seno del Noticiario, su estilo de lenguaje y la representatividad de sus imágenes respecto a la sociedad española de su tiempo.
THE CONSTRUCTION AND CIRCULATION OF IMAGES OF ATROCITY
King Juan Carlos I of Spain Center of New York University
Thursday - Friday April 25th - 26th, 2013
Organized by Vicente Sánchez-Biosca, King Juan Carlos Professor of Spanish Culture and Civilization at NYU and Professor of Audiovisual Communications, University of Valencia
This symposium will explore critically the construction of iconographies of violence—war, genocide, other forms of mass killing—through the circulation of visual images across media. The focus will be on how the moving image—defined broadly to include news footage, documentary film, fiction film, television docudrama, videos posted on the Internet including social media—has created a repertoire of images of atrocity by drawing on and reworking previous cinematic and photographic material. Questions asked will include: How have these iconographies of violence changed over time? What are their geographical and historical specificities? How have they been socialized, interpreted, and re-interpreted? What do they omit or elide? How have they intersected with regimes of power? What might be their contestatory force? What happens when such images migrate across media (photography, the press, cinema, television, Internet)? Can such images connect the spectator with the event depicted, even if only tenuously? How is the violence of the event encrypted in the image? What are the limits of representation? A particular concern will be the demand for images of atrocity—a desire to know that takes the form of a desire to see—and the strategies of substitution to which filmmakers have recourse to satisfy this demand when footage of the violent event is not available. In what ways can such images be called documents? What kinds of knowledge can they provide?
The panels will mix presentations with screenings of relevant material. Case studies discussed will include the Spanish Civil War (the first war to generate a transnational proliferation of moving and still images and the consequent “desire to see”), the Shoah, Cambodia, and Central America, among other examples.