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- W2891181103 abstract "espanolEste articulo examina tres largometrajes de ficcion estrenados entre 2012 y 2014, los cuales no interrogan abiertamente el contexto de recesion economica sino que visualizan el cuerpo femenino como lugar mismo de la crisis. La herida, Stockholm y especialmente Magical Girl se apoyan en un vocabulario de gestos corporales. Estos films hacen uso de un gesto recurrente: una mujer que se auto-lesiona intencionadamente. En historias colmadas de lagunas narrativas y ambiguedades, las heridas corporales permanecen visibles como evidencia en busca de una causa. Continuando debates criticos en torno al cine producido tras la crisis financiera de 2008, este articulo conecta la performatividad del gesto con estados en que la capacidad de accion es limitada, y la narrativa de cambio social caracteristica del cine espanol de la democracia se ha estancado. El articulo se concentra en los estilos de actuacion en estos films, y la forma en que subrayan los estados de alienacion que resultan en un extranamiento de los sujetos con respecto a sus cuerpos. Rechazando lecturas alegoricas del cuerpo femenino herido como sintoma del cuerpo de la nacion en crisis, este articulo propone una poetica de lo somatico que capture la construccion filmica, mas alla de lo nacional, de estados afectivos representativos de vinculos sociales que se han roto a causa de la dinamica de deuda impuesta por el sistema neoliberal. EnglishThis article looks at three fiction films released between 2012 and 2014 that, while not directly addressing the recessionary context, figure the female body as the visual site of crisis. La herida, Stockholm, and especially Magical Girl construe a vocabulary of embodied gestures. One in particular recurs time and again: a woman wilfully wounding her body. In films otherwise fraught with narrative gaps and ambiguities, gashes and wounds stubbornly remain visible evidence in search of a cause. Furthering ongoing critical conversation about cinema in the aftermath of the 2008 financial crash, this paper connects performative gestures with states of diminished agency and the stagnation of the narrative of social change underpinning the Spanish cinema of the democracy. I look in particular at the acting styles on display in these films, and the ways that they bring to the fore the alienation that estranges subjects from their bodies. Eschewing allegorical readings of the wounded female body as a symptom of the national body in crisis, a somatic poetics is deployed to capture the de-nationalized filmic construction of affective states that speak of broken social links contaminated by the dynamics of neo-liberal debt." @default.
- W2891181103 created "2018-09-27" @default.
- W2891181103 creator A5027613979 @default.
- W2891181103 date "2019-01-02" @default.
- W2891181103 modified "2023-09-23" @default.
- W2891181103 title "A Somatic Poetics of Crisis Cinema: The Gesture of Self-Harm in Three Spanish films" @default.
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- W2891181103 doi "https://doi.org/10.1080/14682737.2019.1584472" @default.
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