La presencia de mujeres directoras ha sido escasa en el cine español. Con la excepción de Ana Mariscal, Josefina Molina y, sobre todo, Pilar Miró, pocas cineastas han conseguido una carrera fílmica ...estable. En la década de los 90, nuevos nombres aparecieron en el panorama cinematográfico nacional, con películas protagonizadas por mujeres que pertenecían a diversos géneros. Tradicionalmente, dos de los menos relacionados con el protagonismo femenino han sido el drama carcelario y el thriller, pero Belén Macías e Isabel Coixet los abordan en El patio de mi cárcel (2008) y Mapa de los sonidos de Tokyo (2009), respectivamente. Con los objetivos de conocer la evolución de estas directoras y destacar su aportación en el tratamiento de esos temas, se analizan como persona y como rol –según Francesco Casetti y Federico Di Chio-, las protagonistas de ambas películas, enmarcadas en el ámbito de la criminalidad y en la lucha contra la misma. Desde estas consideraciones, este trabajo pretende reflexionar sobre la apuesta de Macías y de Coixet por tratar dos géneros narrativos habitualmente vinculados con directores, contar con el absoluto protagonismo de los personajes femeninos y plasmar nuevos roles para la mujer en el celuloide español actual.
The 21st century resurgence of the political thriller genre was informed by two factors: the post 9/11 geo-politics and the new global landscape of film and television. Tehran (Kan, 2021-), the ...recent political thriller series from Israel on Apple TV+, offers an illuminating example of the transnationalisation of the genre. By analysing the series along with discussions on its production context and reception in Israel, Iran and internationally, we demonstrate the complex and shifting relationship between the entertainment and the political elements, which typify the genre and its global travel. Revolving around the topical geo-political issues, the series' action-based plot delineates an Israeli military operation to neutralise the Iranian nuclear reactor, while deeper layers of the narrative point to its political aim: countering negative representations of Iran and provoking a critique of Israel's own forms of oppression and its internal identity crisis. Placing at its centre a young Israeli female agent, whose complexity is rooted in her hybrid identity as a migrant Iranian-Jew, the series renders visible suppressed histories of Iranian-Jewry's fractured relationship with Zionism. This, we claim, is the core of the series' political critique, which despite its potential subversion was largely lost in the reception space.
This article explores Netflix’s changing business strategies to diversify its catalogues, examining the practices of ‘direct commissioning’ and genre adaptation. The case study of Queen Sono, the ...first Netflix African Original, reveals how the spy thriller conventions are leveraged to attract a Western audience even as the series is adapted to the African context. Although Queen is portrayed as a female spy with clear moral impulses, I argue that her agency is constrained by the male-dominated spy thriller conventions and the transnational postfeminist sensibility of the series which Netflix paradoxically needs to utilise to attract both African and transnational subscribers.
In a previous paper, the researchers Lama Abu Hassan and Kifah Al Omari provide a new definition for the phenomenology of transparency in thriller films. Accordingly, they suggest that it is possible ...to extract three forms of transparency; the personal, substance, and sensorial transparency. They thoroughly discuss these forms, taking the film HUSH directed by Mike Flanagan as a case study. This paper concentrates more on sensorial transparency, arguing that it is the form that best fits the cinematic dread prototype. The researchers provide many examples that help to understand its effect and level of engagement with the viewers.
En un artículo anterior, los investigadores Lama Abu Hassan y Kifah Al Omari proporcionaron una nueva definición para la fenomenología de la transparencia en las películas de suspenso. En consecuencia, sugieren que es posible extraer tres formas de transparencia; la transparencia personal, substancial y sensorial. Discuten a fondo estas formas, tomando la película HUSH dirigida por Mike Flanagan como un estudio de caso. Este artículo se concentra más en la transparencia sensorial, argumentando que es la forma que mejor se adapta al prototipo de terror cinematográfico. Los investigadores proporcionan muchos ejemplos que ayudan a comprender mejor su efecto y el nivel de compromiso con los espectadores.
Making Sense of Complex Narration in Perfect Blue Loriguillo-López, Antonio; Palao-Errando, José Antonio; Marzal-Felici, Javier
Animation : an interdisciplinary journal,
03/2020, Letnik:
15, Številka:
1
Journal Article
Recenzirano
Odprti dostop
Although identified as a feature of the film by both critics and researchers, the narrative complexity of Perfect Blue (Satoshi Kon, Madhouse, 1997) has been ambiguously defined. In this article, the ...authors examine the complex narration in Kon’s first feature film, equivocal and obscure in its more confusing points, through a narratological analysis of the film’s most ambiguous scenes. Using cognitive film theory as introduced by David Bordwell and Edward Branigan, they link its approach in terms of the modulation of information flow throughout the film – high knowledgeability, high self-consciousness and (occasionally) low communicativeness – with the conventions of the slasher genre. Their analysis of the more perplexing scenes in Perfect Blue is reinforced by monitoring the veiled changes of focalization between the film’s three focalizers: Mima, Uchida (aka Me-Mania) and Rumi. In order to do this, they explore how the narration – in the tradition of contemporary puzzle films – makes use of judgements, preconceptions and cognitive illusions in the spectators’ activity to conceal Rumi’s involvement in the persecution of Mima and the murders committed. In the conclusion, they associate the film’s complex narration with its critical commentary on the representation of Japanese pop idols (and former idols) and the state of audiovisual entertainment in Japan.
The representations of motherhood make up a complex and sometimes contradictory field of study, conditioned like few other areas of the social sphere by the political-ideological tendencies of each ...historical period. Since the 1990s, post-feminism has been appropriating some tenets of the feminist third wave to propose an idealized version of the good mother that combines, apparently without problems, the care of her children with her professional development. The figure resulting from this neoliberal model, of a naturalistic and essentialist nature, represents an unattainable horizon for the majority of working women. These imperfect mothers have found in the television thriller a fertile imaginary where they show the impossibility of the ideal motherhood. The series Néboa (La1, 2020) illustrates this trend through a dystopian view on the subject, very critical of the post-feminist imaginary.
This article adds to the analysis of Hong Kong TV culture by investigating recent trends in television production. It demonstrates that the small screen has become a means of grappling with ...postcolonial Hong Kong identity, and that this is most noticeable in its reinvention of the genre of the financial crime thriller. This analysis must be considered against the background of two new developments in television: the growth of transnational collaborations intended to appeal to the Asian market and the advent of TV series that replicate the experimentation of American shows and dispense with the traditional episodic narrative.
There has been a tendency to demarcate disasters as natural or human-induced. However, in the age of the Anthropocene where humans take an active role in shaping the Earth’s geology and ecology, ...there are no such distinctions between the two, but a complex relationship between nature and culture, humans and their societal, governmental and economic policies over the fate of the world. In such a world, disasters affect the poor, disadvantaged, and marginal communities more than the rich, advantaged, and affluent communities. Therefore, this article will analyse John Burnside’s book, Glister, through the lens of environmental (in)justice concept, endeavor to shed light upon the multi-faceted nature of environmental problems and underline the need for collaborative approach via the example of the poor townspeople’s exposure to the chemical toxins in the novel.
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