Law and Cinema

Este pequeño libro es una reivindicación del Derecho administrativo como una rama hondamente lírica del Derecho, frente a quienes consideran que es una disciplina árida y fría. Para ello, repasa el régimen jurídico-administrativo de la belleza, de la amistad, de la memoria, de la muerte y los excrementos, entre otros temas, y descubre el erotismo, la ironía y la fina sutileza del Derecho administrativo.

Sumario

0. Pretexto.
1. La pesca del leviatán.
2. El candor del ocultismo.
3. La erótica del poder.
4. La paz del hogar.
5. El amor al arte.
6. La pasión por lo prohibido.
7. La mala reputación.
8. La gracia en la burocracia.
9. Las erratas burlonas.
10. La elocuencia del silencio.
11. El aprecio del sentimiento: el premio de afección …
12. … y el pretium doloris.
13. El cultivo de la amistad.
14. La buena educación.
15. La exaltación de la empatía.
16. El elogio de la filantropía.
17. La némesis de la negligencia.
18. El peso de la experiencia o la sabiduría del diablo.
19. La fuerza de la memoria.
20. Epílogo sobre mitos y leyendas.

Law and Cinema focuses on the representations of law and the legal system as they appear in popular cinema. The class will explore several film genres (e.g., film noir, science fiction, and westerns) and discuss the way in which the popular cultural representatives of law both reflect and re-inscribe certain presumptions about law and its role as a social system. Students will watch between 8 to 10 films throughout the term and will read and discuss the academic literature on cinema as a narrative vehicle.

O artigo analisa os espelhamentos narrativos do documentário Narciso em férias, no qual Caetano Veloso relata sua prisão pela ditadura civil-militar brasileira. À luz de uma investigação sobre as relações entre Direito e Cinema, consideramos que as narrativas dispostas pelo filme evidenciam a memória da exceção que caracteriza a nossa experiência jurídico-política recente, permitindo-nos verificar a sua face violenta no espelho da representação.

Resumen: El siguiente texto realiza un estudio de la teleserie Tumberos (América TV, 2002) dirigida por Adrián Caetano y filmada en la ex Cárcel de Caseros. El estudio se realiza a la luz de cuatro ejes principales: el diálogo de la serie con los
géneros cinematográficos, televisivos, literarios; el tratamiento de cuestiones vinculadas con la construcción del género y la identidad sexuales; la representación de las relaciones de dominio que se establecen dentro del penal y sus vínculos con el universo político, criminal, familiar, religioso del exterior; el
diálogo que establece la serie con la historia política y con la representación de la historia política.
Palabras clave: Género – Drama Carcelario – Policial – Noir – Identidad Sexual – Tumberos – Caetano – Nuevo Cine Argentino

Abstract: The following paper examines the television serial Tumberos (América TV, 2002), directed by Adrian Caetano and filmed in the former Caseros Prison. The analysis is conducted to light and discuss four main areas: the dialogue of the miniseries with film, television and literary genres and traditions; the representation of gender and sexual identity as cultural constructions; the power relations established within the prison and their links with politics, criminality, family and religion in the outside world; the links of the serial with
the political history and the representation of political history.
Keywords: Genre – Prison Film – Detective Fiction – Police Procedural – Noir –Sexual Identity – Tumberos – Caetano – New Argentine Film

Matar un ruiseñor (To Kill a Mockingbird, Robert Mulligan, 1962), basada en la novela homónima de Harper Lee, ganadora del Pulitzer de 1960, se ha mantenido durante medio siglo extraordinariamente viva en América. La popularidad de su referente literario (en el siglo XX fue la novela americana de temática racial más leída), a pesar de su trama y personajes convencionales, ha contribuido asimismo a la difusión de la película homóloga. Aunque el proceso judicial que recreaban se ubicaba en el contexto de los años treinta, en Maycomb, Alabama, libro y película aparecieron en una época convulsa, en la mayor transformación que padeció el Sur desde la Guerra de Secesión, y animó a los lectores blancos a tomar partido en la lucha por los derechos civiles. La recreación convertía la controversia en —como diría Walt Whitman— «historia futura» para el público americano. El presente artículo explora las principales implicaciones históricas, estéticas y sociológicas de la novela y la película, prestando especial atención al tema racial. El texto pretende ofrecer al lector recursos y/o líneas de interpretación con vistas a valorar Matar un ruiseñor como obra de arte, sin desatender el contexto proyectado en la película, del que no puede ser disociada. /

To Kill a Mockingbird (Robert Mulligan, 1962), based on the homonymous 1960 Pulitzer-prize winning novel by Harper Lee, has been alive and kicking for over half a century in the USA. To Kill a Mockingbird was the most popular American novel with a racial theme of the twentieth century. Despite its conventional characters and plot, its popularity helped to make the film a success. Even though the judicial proceedings depicted take place in the 1930s Maycomb (Alabama), both the book and the film were released in eventful times, during the most remarkable transformation that the South had been through ever since the American Civil War, and they encouraged white audiences to take part in the fight for civil rights. The cinema version turned this controversy into —as Walt Whitman would say— «future history» for the American public. The present article explores the main historical, aesthetic and sociological implications of the novel and the film, focusing especially on the racial topic. The aim is to present the reader with lines of interpretation in order to value To Kill a Mockingbird as a piece of art, without disregarding the context that is projected in the film, which, obviously, cannot be ignored.

Convegno organizzato nell'ambito delle attività dell'Osservatorio del Racconto Criminale (ORC) comunità-progetto e cluster di ricerca del LIRCES-UPR 3159 dell'Université Côte d'Azur, dedicato allo studio dello storytelling sulle mafie. https://orc.hypotheses.org/

Chapter 3 looks at the drive for industrial legitimacy from the perspective of the synchronized cinematic voice, available for the first time with the coming of talkie technology. This was a time marked by tense acoustic battles between modern, “scientific” voices and traditional, “tainted” voices. I show how much-maligned courtesan actresses, who were critical to the consolidation of the Bombay film industry, were implicitly championed through filmic scenes of impassioned speech. Films featuring heroines playing performers and “lady barristers” served as a performative arena for the historical actress to argue for her right to work. By mapping the presence of multiple technologically mediated vocal practices in late colonial India, I situate the actress’s voice within a resonant speech ecology and draw attention to dialogue and speechmaking, seriously under-researched aspects of film aesthetics and form in South Asian film studies, where the “aural” is assumed to mean song and music.

El presente trabajo trata de ofrecer un análisis desde el punto de vista jurídico y filosófico del filme Leviatán (Andrey Zvyagintsev, 2014). Para ello, se explora la importancia de la figura jurídi-ca de la expropiación forzosa como elemento argumental de la obra, así como la visión crítica de la sociedad contemporánea rusa en materias tales como la corrupción política, la separación de poderes, las relaciones entre el poder político y la Iglesia ortodoxa, y la crisis de valores morales y de la familia como institución social fundamental. Del mismo modo, se examinan algunas re-ferencias bíblicas y filosóficas presentes en el largometraje que pueden contribuir a la reflexión en torno a conceptos y temas fundamentales del ámbito iusfilosófico.

This study intends to offer an analysis of the film Leviathan (Andrey Zvyagintsev, 2014) from a legal and philosophical point of view. Therefore, it explores the relevance of the forceful expro-priation as a storyline element, as well as the critical view of the contemporary Russian society, especially  in  subjects  as  political  corruption,  separation  of  powers,  the  relationship  between  political power and the Orthodox Church, the collapse of moral values and of the family as a key social institution. In the same way, we examine several biblical and philosophical references displayed in the film which can contribute to the critical thinking about key concepts and topics of legal philosophy.

O presente artigo pretende promover uma reflexão sobre o sentido da utopia hoje, partindo da compreensão
originária do termo no século XVI e retomando, em uma interface com a literatura e o cinema, as suas transformações ao
longo do tempo, bem como seu significado nos dias atuais, quando as utopias são pensadas por meio de uma estratégia
de inversão que tem como fruto célebres distopias. Paralelamente, traça-se o panorama histórico, estético e cultural em que
experiências utópicas foram propostas – antes e depois da criação da palavra por Thomas More na obra homônima. Na
conclusão do texto, faz-se uma reflexão sobre o lugar e a função política da utopia no mundo contemporâneo, com base
num paradigma filosófico comprometido com as transformações sociais.

Resumo: O estudo do fenômeno político-jurídico passa pela leitura e releitura de inúmeros textos considerados como " clássicos ". Tal fenômeno, entretanto, deve ultrapassar o estudo meramente em sala de aula. É nesta perspectiva que o cinema se torna elemento importante na explicação e elucidação de conceitos: inúmeros são os filmes que lidam com temas acadêmicos, representando-os na tela e permitindo uma melhor compreensão da teoria político-jurídica. É neste contexto do cinema como ferramenta pedagógica para a explicação de conceitos fundamentais à Ciência Política contemporânea e ao Estado moderno que se encaixa a problemática deste artigo, qual seja, a de explicar os principais aspectos apresentados por Nicolau Maquiavel em seu livro mais conhecido – " O Príncipe " – tendo-se por base um dos maiores fenômenos da " cultura pop " atual – o chamado " Universo Cinematográfico Marvel " , com ênfase em seu mais recente filme intitulado " Vingadores: Guerra Infinita ". O objetivo geral é mostrar de que maneira as ações realizadas pelo vilão do filme podem ser analisadas sob uma perspectiva maquiavélica, com ênfase nas características apresentadas pelo autor florentino referentes ao modelo de " bom governante ". Para tanto o artigo traz inicialmente ao leitor o enredo central do filme para em seguida apresentar, de maneira interconectada, os principais argumentos desenvolvidos pelo autor florentino e as ações do vilão no filme. Ao fim conclui-se que a obra de Maquiavel continua relevante para a análise do fenômeno político-jurídico contemporâneo. O artigo se fundamenta no método indutivo e usa como técnica a pesquisa bibliográfica. Abstract: The study of the political-legal phenomenon involves the reading and re-reading of numerous texts considered as " classics ". This phenomenon, however, should go beyond the study in the classroom. It is in this perspective that movies become an important element in the explanation and elucidation of concepts: there are many films dealing with academic subjects, representing them on the screen and allowing a better understanding of legal-political theory. It is in this context of movies as a pedagogical tool for the explanation of concepts fundamental to contemporary Political Science and the modern State that comes the problematic of this article: to explain the main aspects presented by Niccolò Machiavelli in his best-known book – " The Prince " – based on one of the greatest phenomena of today's pop culture – the so-called " Marvel Cinematic Universe " , emphasizing its most recent film entitled " Avengers: Infinity War ". The main objective is to show how the actions performed by the villain of the film can be analyzed from a Machiavellian perspective, with emphasis on the characteristics presented by the Florentine author referring to his model of a " good ruler ". To achieve such goal the article initially brings the central plot of the film and then presents, in an interconnected way, the main arguments developed by the

Tras el levantamiento del Muro de Berlín en 1961, las formas de creación literarias y cinematográficas le dedicaron una constante atención a una ciudad que se convirtió en un símbolo de la fractura de Europa y del mundo entre el Estado de Derecho y el totalitarismo, y del histórico combate de los pueblos oprimidos por la tiranía del partido y del pensamiento únicos para recuperar la democracia, la libertad y la concordia. 25 años después del derrumbamiento de ese Muro abyecto, este artículo reflexiona sobre los mejores testimonios de la contribución del cine a ese combate.

Explores the aesthetic frames that mediate the sense(s) and experiences of justice
Close analysis of films such as Pan’s Labyrinth, High Heels, Common Wealth, The Method, No Rest for the Wicked and Unit 7
Engages with legal theory, film studies, aesthetics and politics
Approaches law and film as multisensory, embodied practices
Draws on European case studies in a field largely dominated by Anglo-American discourse
Sensing Justice through Contemporary Spanish Cinema examines the aesthetic frames that mediate the sensory perception and signification of law and justice in the context of 21st-century Spain. What senses do these frames privilege or downgrade? What kind of subjects do they show, construct, and address? What kind of affective and ethical responses do they invite? What kind of judgments do they invite?

The book addresses these questions by moving away from the focus on narrative and through a close analysis of selected contemporary Spanish films. By creating new frames of perception and signification, the films analyzed challenge the senses of law and justice traditionally taken for granted and reconfigure them anew.

À travers l'analyse de cinq films, l'étude entend démontrer que, dans le cinéma italien, l'élu politique incarne toujours un anti-héros. En ce sens, le cinéma joue un double rôle. D'une part, il décrit et anticipe des évolutions institutionnelles fondamentales, en illustrant notamment le passage de la 1ère à la 2ème République. D'autre part, il contribue à construire un discours collectif sur les élus en influençant les rapports entre les citoyens, les politiciens et les institutions.

In this essay I argue that Ciutat Morta, a 2013 film directed by Xavier Artigas and Xapo Ortega based on the case “4F,” is turned into a fiction of a court of justice and puts forth an aesthetics aimed at re-creating the conditions for a new sentence. This aesthetics, in itself a fiction, is however constructed in all its aspects to become a powerful tool of denunciation of the previous trial. Witnesses from all institutional spheres dismantle the arguments that the judge had used to write the sentence and imprison the defendants. In this regard, then, the documentary, as a fictional medium, is however given the status of a document empowered as a tool for a new narrative of the events. Yet to do so, the documentary manipulates the development of the case to present evidence in its particular narrative, sometimes forgetting how the law actually operates: this subtle and notwithstanding alteration of the narrative provides a fascinating insight into how the creation of an on-screen trial can have social repercussions, up to forming webs of solidarity and acts of resistance in the public sphere.

Dans le cinéma italien, l'élu politique incarne toujours l'anti-héros. En effet, à l'exception de quelques pères constituants devenus les icônes d'une conception morale de la politique 1 , les politiciens à l'écran, soient-ils des personnages réels ou fictifs, sont constamment représentés comme corrompus, malhonnêtes, impunis, immoraux et incompétents. Il s'agit, sans doute, des « Grands méchants » du cinéma italien. Certes, les criminels, les mafieux, les terroristes sont aussi représentés comme des personnages négatifs. Cependant, leur méchanceté est parfois nuancée par un certain romantisme. Et surtout, les films montrent que, très souvent, derrière un malfaiteur il y a un élu politique qui le soutient, le protège et commandite ses crimes, en en étant, donc, tout autant responsable 2. Or, la représentation négative des élus à l'écran tient à notre avis à deux raisons qui, tout en étant distinctes, s'alimentent réciproquement. D'une part, le cinéma restitue la réalité d'une partie importante de la vie politique italienne. De nombreux procès attestent de l'existence de relations étroites entre la mafia et les hommes politiques locaux et nationaux 3 , de connivences houleuses entre les hommes politiques, les services secrets et des organisations soit terroristes 4 soit subversives 5 , de pratiques diffuses de pots-de-vin, de financements illicites des partis politiques 6 et, encore, de la promiscuité de certains politiciens avec les milieux de la drogue et de la prostitution 7 .

Una revisión monográfica de la Historia del Derecho, y sus grandes centros de debate científico, tomando el cine como fuente para la investigación, acudiendo al despliegue de las formas de creación y consolidación del Derecho en el tiempo, o el tratamiento de las profesiones jurídicas, acudiendo como referencia a su plasmación en el cine, pero integrando igualmente la perspectiva que el desarrollo de los grandes escenarios de inquietud política y jurídica contemporánea proyecta sobre su tratamiento de la Historia del Derecho.