DSpace Collection:https://hdl.handle.net/10171/29422024-03-28T15:12:56Z2024-03-28T15:12:56ZFinancial Darwinism in recent American feature filmshttps://hdl.handle.net/10171/687172024-02-05T06:06:22Z2018-01-01T00:00:00ZTitle: Financial Darwinism in recent American feature films
Abstract: The notion of a certain identity crisis in capitalist culture, along with the tradition- ally critical portrayal of business in American film (Ribstein 2012), becomes par- ticularly manifest in cinematic narratives concerned with financial markets, stock trading, speculation, and the boundless possibilities of personal enrichment in such environments. The memorable Gordon Gekko (Michael Douglas) of Oliver Stone's Wall Street (1987) established the financial trader archetype, characterized by his charisma and magnetism, by the powerful driving force of greed and ambi- tion, and by his lack of ethical scruples in placing his self-interest above the social common good. Ever since, Hollywood brokers have tended to appear under the light of excessive masculinities and anti-social conducts, opposed to both their families and the economy, and they are often linked to criminal activities and hypersexualized hedonism (Brassett and Rethel, 2015, 443-445). The aim of this chapter is to explore, through film analysis focused on characters and dramatic devices, the ways in which the contemporary heirs of Wall Street develop and rein- force the dark undertones of this archetype. In order to do so, we will focus on Margin Call (J. C. Chandor, 2011), The Wolf of Wall Street (M. Scorsese, 2013), and The Big Short (A. McKay, 2015).2018-01-01T00:00:00ZImágenes del desencanto europeo. Puesta en escena en El hijo de Saúl, Land of mine y Cold War"https://hdl.handle.net/10171/683842024-01-22T06:05:45Z2021-01-01T00:00:00ZTitle: Imágenes del desencanto europeo. Puesta en escena en El hijo de Saúl, Land of mine y Cold War"
Abstract: A comienzos del siglo XXI, el European Dream parecía superar al American Dream por su defensa del progreso basado en valores comunitarios frente al individualismo y materialismo. Según Jeremy Rifkin, era un sueño forjado al término de la Segunda Guerra Mundial que aspiraba a reconstruir Europa entendiéndola como una casa común para todos sus ciudadanos. Sin embargo, las crisis de las últimas dos décadas han mostrado cómo este sueño está surcado por grietas —como el euroescepticismo o el rechazo de los refugiados y migrantes de África y Oriente Medio— que nos enfrentan con una cuestión ineludible: ¿qué es Europa hoy? Este libro explora las respuestas que han dado el cine, la fotografía y el cómic a la actual crisis de la identidad europea. (Resumen del libro)2021-01-01T00:00:00ZLos fashion films como relatos audiovisuales de marcahttps://hdl.handle.net/10171/683432024-01-22T06:05:19Z2015-01-01T00:00:00ZTitle: Los fashion films como relatos audiovisuales de marca2015-01-01T00:00:00ZFrom Italian neorealism to American indie: transcultural heritage in Kelly Reichardt's Wendy and Lucy (2008)https://hdl.handle.net/10171/683312024-01-15T07:50:44Z2017-01-01T00:00:00ZTitle: From Italian neorealism to American indie: transcultural heritage in Kelly Reichardt's Wendy and Lucy (2008)
Abstract: In studying the film Wendy and Lucy, this chapter examines the cinematic footprint as a specific form of cultural transfer. The heritage of a certain tradition in European film will be analyzed through Kelly Reichardt’s film, widely known as one of the milestones of current American indie filmmaking. In 2009, film critic A.O. Scott effectively coined the term “Neo-Neo Realism.” The New York Times reviewer thus verified the appearance of a current of American films conceived under the influence of Neorealism and placed Wendy and Lucy at the forefront of this tendency. Reichardt herself has also recognized this influence in several occasions, among others that will also be considered in this text. From this starting point on, this chapter intends to carry out a narrative analysis of Wendy and Lucy so as to illustrate its continuity with the ethical and aesthetical tenets of the celebrated European film movement that opened the gates of modern cinematic times. This transcultural dialogue finds its most obvious evidence in the film’s narrative structure —a lonely young woman strives to find the only being for whom she feels a genuine affection: her dog— that recalls films such as Vittorio De Sica’s Bicycle Thief (1948) or Umberto D (1952). As in those, Reichardt —in collaboration with her usual co-writer, Jonathan Raymond— gives voice and dignity to an outsider character, who suffers the effects of the severe social and economic crisis around him/her, and then puts forth a humanistic discourse fully engaged with the ordinary man and woman of its times. Ultimately, this study attempts to shed light on a promising line of work for transnational productions by observing how the presence of certain foreign cultural elements can enrich a film through explorations of the human condition. In the case of Wendy and Lucy, the heritage of a certain classical European cinema contributes to make this a remarkable film, with which Reichardt reinforces her status as one of the most important voices in contemporary American independent filmmaking.2017-01-01T00:00:00Z