- Barcelona, Catalonia, Spain
Ivan Pintor Iranzo
Pompeu Fabra University, Audiovisual communication, Faculty Member
This article examines the iconography of medical, health and palliative care in contemporary cinema and the public sphere. While the SARS-Cov-2 pandemic between 2019 and 2022 brought everyday exposure to both the healthcare field of care,... more
This article examines the iconography of medical, health and palliative care in contemporary cinema and the public sphere. While the SARS-Cov-2 pandemic between 2019 and 2022 brought everyday exposure to both the healthcare field of care, its praxis has traditionally been underrepresented. As it is what Hannah Arendt calls a labour, not a job with tangible fruits, the praxis of care –almost always in the hands of women both in the domestic space and in the context of religious orders– has had little presence in the cine- ma and images of the public sphere, where the health field was sometimes only concretised in images of surgical interventions associated with masculinity. Using an iconological methodology based on the work of Aby Warburg, an analysis is made of the phenomenology of care conceived as a reconstruction of the ges- tures of care in the contemporary public sphere and attentive to the remnants of Christian iconography.
Research Interests: Emotion, Gender Studies, Iconography, Gesture Studies, Georges Didi-Huberman, and 13 morePainting, Giorgio Agamben, Capitalism, Sociology of the Body, Social Care For Older People, Nachleben, Cinema, Health Care Management, Christian Iconography, Aby Warburg, Iconography and Iconology, Sickness, and COVID-19 PANDEMIC
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Avec Vacas (1992), Medem a inauguré un rapport totalement nouveau avec l’imagination dans le cadre du cinéma espagnol et est arrivé à récrire la mémoire récente du Pays basque en récupérant quelques-uns des plus importants archétypes de... more
Avec Vacas (1992), Medem a inauguré un rapport totalement nouveau avec l’imagination dans le cadre du cinéma espagnol et est arrivé à récrire la mémoire récente du Pays basque en récupérant quelques-uns des plus importants archétypes de la mythologie basque. Ses films suivants, L’écureuil rouge et Tierra, peuvent être lus comme l’adaptation du cycle mythologique de la déesse Mari et l’introduction dans la fiction d’Urtzi, Beigorri et autres créatures de la mythologie basque. Grâce à une méthodologie qui s’appuie sur l’herméneutique symbolique, il est possible d’appréhender la densité de sens dans ces films, qui culmine avec Les amants du Cercle Polaire (1998) et a son contrepoint dans le documentaire La pelote basque. La peau contre la pierr
Research Interests: Humanities, Art, Herméneutique, Imaginaire, Espagne, and 6 moreCinéma, PER, APF, Radio Television Film, Matriarcat, and Cinéma espagnol
Research Interests: Humanities and Art
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This article explores how contemporary TV series propose social models for a diverse and cross-platform audience. In this context, mental and neurological disorders play an important role as a source of information for viewers, although... more
This article explores how contemporary TV series propose social models for a diverse and cross-platform audience. In this context, mental and neurological disorders play an important role as a source of information for viewers, although many portrayals are often framed negatively, and are heterotypical and stigmatizing. Nevertheless, accurate representations—those that align with their clinical reality— allow for the framing of TV series from the perspective of edutainment. For this reason, the article aims to analyze the representation of autism without cognitive impairment, due to its televisual rise in the last ten years, through the content analysis of two case studies: The Big Bang Theory (CBS, 2007–2019) and Parenthood (NBC, 2010–2015). The results showed series with very disparate depictions that are closely linked to the issue of creative freedom and the social responsibility of contemporary TV series. In conclusion, while there has been a clear improvement from the Rain Man (Levinson, 1989) days, there is still a lack of cultural diversity, expansion of linguistic representations, and authentic representations aligned with the clinical reality that could counteract stigmatizing portrayals.
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Through the sagacious insights of Jean-Marie Apostolidès about Hergé’s well-known character Tintin, this article gathers a comparative investigation on the relationship between the child and the absence of family. More specifically, we... more
Through the sagacious insights of Jean-Marie Apostolidès about Hergé’s well-known character Tintin, this article gathers a comparative investigation on the relationship between the child and the absence of family. More specifically, we address the figure defined by Apostolidès as ‘superchild’ through a comparison between the publications Corriere dei Piccoli (CdP), in Italy, TBO, in Spain and, in the Belgian case, of the figure that motivated the term used by Apostolidès, Tintin. The article forms a comparative comics exercise from a hermeneutical-historical, narratological methodology linked to the figural study of images (; ), in order to underline some of the singularities of the bond between the superchild and the absent family.
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Gracias a las plataformas de vídeo a la carta es posible salvar una frontera que tanto la crítica como la programación cinematográfica siempre habían intentado destruir: el espacio de sepa-ración entre la proyección y la revista de... more
Gracias a las plataformas de vídeo a la carta es posible salvar una frontera que tanto la crítica como la programación cinematográfica siempre habían intentado destruir: el espacio de sepa-ración entre la proyección y la revista de crítica cinematográfica. Casi como un desarrollo natural de la mítica conferencia de Jean-Luc Godard en la Cinémathèque Suisse Les cinémathèques et l'histoire du cinéma (1979), proyectos como ByNWR (bynwr.com) no solo suponen una mul-tiplicación de las formas de aparición cinemato-gráfica, sino también la semilla de un ejercicio de cine comparado. A la facilidad que internet proporciona para acceder a cualquier película e imagen, una disponibilidad que ha permitido a Nicole Brenez (2017) formular el concepto de «cine consultado», se añade una praxis compa-rativa, así como la posibilidad de crear contextos capaces de reescribir y abrir las películas a un nuevo diálogo con las formas audiovisuales con-temporáneas. Desde su atención hacia un cine de serie B de exploitation relegado de cualquier canon histó-rico cinematográfico, byNWR-siglas de by Ni-colas Winding Refn, en homenaje al promotor de este espacio-conjuga las diferentes tareas que hasta ahora se atribuían tanto al museo como, sobre todo, a las cinematecas.
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This article examines how the comic series The Katzenjammer Kids, created by Rudolph Dirks in 1897 and whose main characters are two wicked children, has been usually altered, modified, and reframed due to its publication in Spain and... more
This article examines how the comic series The Katzenjammer Kids, created by Rudolph Dirks in 1897 and whose main characters are two wicked children, has been usually altered, modified, and reframed due to its publication in Spain and Italy. By using the concept of domestication and utilizing tools of the history and formal analysis of comics and the contextual studies used in iconography, we try to study the influence and the afterlife impact of the forms, narratives, and gags of The Katzenjammer Kids and, at the same time, to provide a theoretical-methodological framework for understanding the cultural scope of these phenomena that characterize a field of study such as comics reception, which has been relatively underdeveloped.
Cet article examine comment la série de bande dessinée The Katzenjammer Kids, créée par Rudolph Dirks en 1897 et dont les protagonistes sont deux enfants espiègles, a été très souvent altérée, modifiée et adaptée en raison de sa publication en Espagne et en Italie. À partir du concept de domestication et en utilisant les outils de l’histoire et de l’analyse formelle de la bande dessinée ainsi que les études contextuelles utilisées en iconographie, nous tentons d’étudier l’influence et de la survivance des formes, des récits et des gags de The Katzenjammer Kids. Nous cherchons aussi à fournir un cadre théorique et méthodologique pour comprendre la portée culturelle de ces phénomènes qui caractérisent un champ d’étude tel que la réception de bandes dessinées, qui a été relativement sous-développé.
Cet article examine comment la série de bande dessinée The Katzenjammer Kids, créée par Rudolph Dirks en 1897 et dont les protagonistes sont deux enfants espiègles, a été très souvent altérée, modifiée et adaptée en raison de sa publication en Espagne et en Italie. À partir du concept de domestication et en utilisant les outils de l’histoire et de l’analyse formelle de la bande dessinée ainsi que les études contextuelles utilisées en iconographie, nous tentons d’étudier l’influence et de la survivance des formes, des récits et des gags de The Katzenjammer Kids. Nous cherchons aussi à fournir un cadre théorique et méthodologique pour comprendre la portée culturelle de ces phénomènes qui caractérisent un champ d’étude tel que la réception de bandes dessinées, qui a été relativement sous-développé.
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This article constitutes an iconographic approximation to the gestures of the main character of Diabolik, understood as the embodiment of new aesthetics based on the idea of negativity in Italian comics. On the one hand, the protagonist... more
This article constitutes an iconographic approximation to the gestures of the main character of Diabolik, understood as the embodiment of new aesthetics based on the idea of negativity in Italian comics. On the one hand, the protagonist appears as a synthesis of a tradition of avengers and sophisticated criminals rooted in feuilleton literature and movie serials, with Fantômas and Irma Vep, the protagonist of Les Vampires. On the other hand, Diabolik entails the creation of a new and well-differentiated figure concerning the masked avengers from the first decades of the 20th century, such as The Phantom. Based on an iconological methodology (Aby Warburg, Georges Didi-Huberman), and figural study of visual motifs (Nicole Brenez), we approach the visual iconography of Diabolik's dark silhouette to reveal his singularity within the historical inscription of Giussani's sister's criminal comic book series. Diabolik is ultimately revealed as a counterfigure to the Italian economic miracle, an antecedent of a contemporary vision of surveillance and attention economy capitalism, and a visual embodiment of negativity or apophatic aesthetics.
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In this article, we argue that the TV series event with the highest audience in recent Catalan history, La catedral del mar /Cathedral of the Sea (Jordi Frades, 2018), is an example of commercial cinematic populism. Cathedral of the Sea... more
In this article, we argue that the TV series event with the highest audience in recent Catalan history, La catedral del mar /Cathedral of the Sea (Jordi Frades, 2018), is an example of commercial cinematic populism. Cathedral of the Sea is built on formal elements of the classic Hollywood style (for example, continuous editing, linear narrative, lack of moral ambiguity), and a series of substantive dichotomies (people/ elite, the popular hero/ the villain, the good/ the bad) and myths (the savior, the unity of the people). In analyzing their significance, we distinguish three hermeneutic layers, the populist, the general-mythical, and the Catalan historical context, which, in combination, constitute the cinematic narrative. Therein the central hero of Cathedral of the Sea, Arnau Estanyol, personifies the myth of the commoner who, by accumulating a whole range of virtues and social roles, synecdochically stands for the triumphant emergence of the modern Catalan people. This narrative...
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Aesthetics of Negativity in US Television Fiction and Comics: Here by Richard McGuire and Twin Peaks, the Return
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Research Interests: Humanities and Art
This article examines the scope of visual motifs as a tool for media educa- tors to foster a critical and conscious reception of images that circulate in the public sphere. The article sets an interdisciplinary theoretical framework that... more
This article examines the scope of visual motifs as a tool for media educa- tors to foster a critical and conscious reception of images that circulate in the public sphere. The article sets an interdisciplinary theoretical framework that draws on the fields of art history, film studies, and political iconography to define how visual motifs operate in the mediascape. We address a series of contemporary visual motifs that have circulated through the media, to analyze their iconographic legacy and thereby question their emotional and political connotations. The article addresses didactically some visual motifs that were produced during the pandemic, as well as visual motifs that have represented political, police, and civil power in Spain. The analysis of these visual motifs aims at demonstrating a conscious and critical way of addressing the images that circulate in the public sphere, through the productive clash with other images. We claim that this association between images is not merely a way of eliciting the emotional responses we need in order to be able to face images, but also a way of showing how they determine the very parameters of what can be contemplated from a political point of view.
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This article explores how contemporary TV series propose social models for a diverse and cross-platform audience. In this context, mental and neurological disorders play an important role as a source of information for viewers, although... more
This article explores how contemporary TV series propose social models for a diverse and cross-platform audience. In this context, mental and neurological disorders play an important role as a source of information for viewers, although many portrayals are often framed negatively, and are heterotypical and stigmatizing. Nevertheless, accurate representations—those that align with their clinical reality— allow for the framing of TV series from the perspective of edutainment. For this reason, the article aims to analyze the representation of autism without cognitive impairment, due to its televisual rise in the last ten years, through the content analysis of two case studies: The Big Bang Theory (CBS, 2007–2019) and Parenthood (NBC, 2010–2015). The results showed series with very disparate depictions that are closely linked to the issue of creative freedom and the social responsibility of contemporary TV series. In conclusion, while there has been a clear improvement from the Rain Man (Levinson, 1989) days, there is still a lack of cultural diversity, expansion of linguistic representations, and authentic representations aligned with the clinical reality that could counteract stigmatizing portrayals.
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This article examines the scope of visual motifs as a tool for media educa- tors to foster a critical and conscious reception of images that circulate in the public sphere. The article sets an interdisciplinary theoretical framework that... more
This article examines the scope of visual motifs as a tool for media educa- tors to foster a critical and conscious reception of images that circulate in the public sphere. The article sets an interdisciplinary theoretical framework that draws on the fields of art history, film studies, and political iconography to define how visual motifs operate in the mediascape. We address a series of contemporary visual motifs that have circulated through the media, to analyze their iconographic legacy and thereby question their emotional and political connotations. The article addresses didactically some visual motifs that were produced during the pandemic, as well as visual motifs that have represented political, police, and civil power in Spain. The analysis of these visual motifs aims at demonstrating a conscious and critical way of addressing the images that circulate in the public sphere, through the productive clash with other images. We claim that this association between images is not merely a way of eliciting the emotional responses we need in order to be able to face images, but also a way of showing how they determine the very parameters of what can be contemplated from a political point of view.
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En una conversación con la investigadora y curadora de arte Inge Stache desarro-llada en Buenos Aires y recogida en el libro Desconfiar de las imágenes, el cineasta y teórico Harun Farocki fantaseaba con la idea de un dispositivo capaz de... more
En una conversación con la investigadora y curadora de arte Inge Stache desarro-llada en Buenos Aires y recogida en el libro Desconfiar de las imágenes, el cineasta y teórico Harun Farocki fantaseaba con la idea de un dispositivo capaz de detectar las imágenes retocadas, manipuladas, a imagen y semejanza de la tecnología de descodificación del ADN (Farocki, 2015: 290). Las imágenes, como billetes autén-ticos o falsos, revelarían así su auténtica naturaleza ante un aparato cuya evocación permitía a Farocki insistir en la necesidad de restablecer el pacto con un narrador visual fiable, en la exigencia de una reactivación del contrato entre autor y espec-tador. Vivimos tiempos en los que el análisis de las imágenes que se crean en la esfera pública debe partir de una aproximación al principio de la autopuesta en escena y que, por lo tanto, debe constatar que la imagen aparece mediatizada o, como señala Carlos Alberto Scolari, «hipermediada» (Scolari, 2008) por inscribirse en un sistema de control y autorepresentación complejo. Ante la imagen, ante el constante flujo de imágenes, no queda hoy otra actitud que la distancia crítica y la elucidación y transmisión de mecanismos capaces de sugerir alternativas desde la alfabetización mediática.
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Media images representing the different centres of power and the public sphere are often articulated with visual motifs drawn from cinema, painting, and other iconographic traditions. Rather than distancing images from their traditional... more
Media images representing the different centres of power and the public sphere are often articulated with visual motifs drawn from cinema, painting, and other iconographic traditions. Rather than distancing images from their traditional sources, the expansion of social media has underscored the importance of the user-spectator's experience with the forms of self-representation of the various holders of power: politicians, business leaders, the judiciary, law enforcement, and social movements. Our hypothesis is that there is an organized set of motifs for representing typical situations in public life that depend on the spectator's prior knowledge of these staging models, which constitute fertile ground for the analysis of their ambiguity and their communicative and political effectiveness. The objective of this special issue is to open up dialogue and interaction between film and visual arts scholars and researchers in social and political communication with the aim of identifying the core principles of the system for the self-production of images of power that characterises our times. As Carlo Ginzburg points out in Fear, Reverence, Terror: Five Essays in Political Iconography, in every image the current political narrative coexists with a background that is at once historical, religious, and iconographic, conveying the emotional content and the codes for expressing power, which often survive from one era to the next. The article on political iconography that begins this special issue explores this relationship between the appeal to the emotions made by images and what Aby Warburg referred to as Pathosformeln, the formula of gestures to express passion, in the context of contemporary political campaigns, often based on evoking the afterlife (Nachleben) of gestures of the past that express enthusiasm, fear, or rage. Images of power have been re-appropriated by social media in the form of memes, GIFs, and mashups. Along with the dissemination of visual motifs themselves, their contemporary reinventions by prosumers on social media platforms are a source of interest. There is a significant tradition of studies in political iconography based on the seminal work of Aby Warburg and developed by authors like Erwin Panofsky, Horst Bredekamp, Monica Centanni, Georges Didi-Huberman, Christian Joschke and Patrick Boucheron, as well as the aforementioned Carlo Ginzburg. Their attention to the central role of visual motifs in the construction of the public space converges with the explorations of numerous theorists in other fields, such as: art theory and criticism (Boris Groys, Hito Steyerl, Harun Farocki); political philosophy (Giorgio Agamben); film studies (Nicole Brenez, Alain Bergala, Emmanuelle André); photography theory (Ariella Azoulay), social semiotics (Theo van Leewen), cognitive iconology (Ian Verstegen) and production studies (Banks, Caldwell, Du Guy, Thompson and Burns), with attention to the degrees of consciousness and control over the images produced, whether in film and photojournalism or in the praxis of news reporting, television documentaries or online productions. Social media and transmedia integration into the formulas of public and political communication and the work of the traditional media urgently require new explorations of the ways these visual motifs are disseminated, in order to analyse the mechanisms for the Special issue Visual motifs Jordi Balló
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Through the sagacious insights of Jean-Marie Apostolidès about Hergé’s well-known character Tintin, this article gathers a comparative investigation on the relationship between the child and the absence of family. More specifically, we... more
Through the sagacious insights of Jean-Marie Apostolidès about Hergé’s well-known character Tintin, this article gathers a comparative investigation on the relationship between the child and the absence of family. More specifically, we address the figure defined by Apostolidès as ‘superchild’ through a comparison between the publications <i>Corriere dei Piccoli</i> <i>(CdP)</i>, in Italy, <i>TBO</i>, in Spain and, in the Belgian case, of the figure that motivated the term used by Apostolidès, Tintin. The article forms a comparative comics exercise from a hermeneutical-historical, narratological methodology linked to the figural study of images (Brenez 1998; Bellour 2013), in order to underline some of the singularities of the bond between the superchild and the absent family.
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... teatral, posseeix l&amp;#x27;arma de la presència de l&amp;#x27;actor i el valor d&amp;#x27;un temps que discorre inexorablement, cosa que el dota per representar la ... L&amp;#x27;exemple paradigmàtic és la saga... more
... teatral, posseeix l&amp;#x27;arma de la presència de l&amp;#x27;actor i el valor d&amp;#x27;un temps que discorre inexorablement, cosa que el dota per representar la ... L&amp;#x27;exemple paradigmàtic és la saga d&amp;#x27;Alef-Thau (1982-1998), un personatge que neix sense extremitats i al llarg de cadascun dels cants o ...
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De entre todas las imágenes gestadas por la serialidad contemporánea, las del final de la tercera temporada de Twin Peaks (ABC: 1990-91; Showtime Networks: 1990-2017) constituyen un punto límite, un espacio de interrogación sobre las... more
De entre todas las imágenes gestadas por la serialidad contemporánea, las del final de la tercera temporada de Twin Peaks (ABC: 1990-91; Showtime Networks: 1990-2017) constituyen un punto límite, un espacio de interrogación sobre las formas narrativas seriales construido sobre una estética negativa o apofática, de acuerdo con el término teológico que designa la vía mística negativa de aproximación a lo divino –del griego ἀποφάναι que significa “decir no”, “negar”–. En muchos sentidos, Lynch establece un pacto con el espectador que no se apoya en la premisa de un guión cerrado ni sobre el uso de los recursos del drama isabelino y la narrativa artúrica tan presentes en la ficción televisiva contemporánea, sino sobre una fórmula hasta ahora inédita en la serialidad: la concepción de cada episodio como una visita al estudio, al taller del artista. El trabajo sobre motivos recurrentes concibe las secuencias como lienzos, ensayos o coreografías que suscitan una sensación similar a la que producen otras formas estéticas recientes fundadas sobre las ideas de gesto y huella, indagación y montaje de tiempos alternos, quebrados. El propósito de este capítulo, contenido en el libro La estética televisiva en las series contemporáneas (Ed. Miguel Ángel Huerta y Pedro Sangro) es acercarse tanto a la vía negativa, apofática, que guía a Lynch como a una comprensión más amplia de las formas de la negatividad que la serialidad televisiva contemporánea reclama en relación con la representación del hogar y la comunidad: la cólera, el horror y el círculo serial del mal, desde una metodología comparada, fundamentanda en la iconología de Aby Warburg y basada sobre todo en el concepto de negatividad en la filosofía y la teología. A través de series tan diversas como The Leftovers (HBO: 2014-2017), True Detective (HBO: 2014-), Fringe (Fox: 2008-2013), Breaking Bad (AMC: 2008-2013), Mad Men (AMC: 2007-2015), Penny Dreadful (Showtime: 2014-2016), P’tit Quinquin (Arte: 2014) o Westworkd (HBO: 2016–) se realiza un recorrido a través de los fundamentos de la negatividad en la estética de la ficción serial contemporánea.
Research Interests: Art, Martin Heidegger, David Lynch, Aby Warburg, Meister Eckhardt, and 15 moreNegativity, Lucio Fontana, Mad Men, TV Series, Mark Rothko, TV Fiction, Twin Peaks, Georges Didi Huberman, Anish Kapoor, Byung-Chul Han, True Detective, Penny Dreadful Tv Serie, Westworld, The leftovers, and Twin Peaks: The Return
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Il volume LA STRADA DI FELLINI prende in esame il cinema del grande regista di Rimini come una complessa entità creativa e un’opera di immagini e suoni ancora piena di sorprese. La sua lunga carriera, dal neorealismo alle soglie... more
Il volume LA STRADA DI FELLINI prende in esame il cinema del grande regista di Rimini come una complessa entità creativa e un’opera di immagini e suoni ancora piena di sorprese. La sua lunga carriera, dal neorealismo alle soglie postmoderne della fine del ventesimo secolo, dimostra le facce plurime di un sistema audiovisivo e narrativo (e altresì di una forma di pensiero) allo stesso tempo popolare, commerciale e sperimentale. I saggi (di studiosi italiani e spagnoli) che compongono questo libro penetrano nelle radici dell’immaginario di Fellini: l’eredità del teatro barocco e il trompe l’oeil; l’onnipresenza dei fumetti americani e italiani, la costruzione del desiderio, la persistenza dei classici greco-romani e il suono del dolce stil novo di Dante; l’universo dei sogni e la rete fra storia personale dell’autore e progettazione dei vari film; la molteplice creatività di Fellini come disegnatore e cineasta, le sue pubblicità, il rapporto – anche personale – con artisti e poeti (Pasolini, Zanzotto)
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With the COVID-19 pandemic caused by the SARS-CoV-2 coronavirus, the public sphere was assaulted by imaginaries previously relegated to the science-fiction film genre. Empty streets in large cities invaded by wild animals, faces veiled by... more
With the COVID-19 pandemic caused by the SARS-CoV-2 coronavirus, the public sphere was assaulted by imaginaries previously relegated to the science-fiction film genre. Empty streets in large cities invaded by wild animals, faces veiled by surgical masks, medical teams in PPE protective suits, and mass transfers and burials of corpses sustained a rhetoric of war, sacrifice, guilt, and disease at the centre of which is the fragile, violated body of patients. That gave sudden visibility to the hospital environment and the praxis of clinical care. When addressing the reduction or even the denial of images of care both before and after the pandemic, it is inevitable to ask why a fundamental praxis, which goes beyond the hospital setting and involves a large part of society generates a small number of visual motifs, that, furthermore, barely circulate in the public sphere. Perhaps the first answer, from the sociological point of view, is given by the apparent unproductiveness of care, whose return seems to be nil even though they constitute the economic foundation of society. From this point of view, the care of the sick, convalescent, or dying person entails, as Bataille noted in the notes for the volume on sovereignty that should have closed The Accursed Share, the threat of unproductiveness, the counterimage of performance, the monotony of labour that, unlike work and —as Hannah Arendt points out—, does not seem to leave material traces.
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When, one morning in 1907, the German pharmacist Julius Newbronner managed to get the light camera harness he had perfected for his homing pigeons to return the most impressive sequence of aerial snapshots of the city of Kronberg, not... more
When, one morning in 1907, the German pharmacist Julius Newbronner managed to get the light camera harness he had perfected for his homing pigeons to return the most impressive sequence of aerial snapshots of the city of Kronberg, not only crystallized the dream of seeing more, but also the old literary motif of the divinities watching over and interceding in human designs from Olympus materialized. With a brief flutter, the vision had been externalized, and, as consciousness, someone from the shadows of a developing laboratory, could scrutinize previously invisible angles of the city and daily life. Aerial images, video surveillance cameras, traffic controls, police vehicles, drones and airport X-rays find their ultimate reason in the control room, a motif that has run through cinema since its origins, through filmmakers like Fritz Lang in Metropolis (Metropolis, 1927), The Spies (Spione, 1928) and the saga of Dr. Mabuse, and even series like Person of Interest or Westworld. The control room has become the epicenter of the surveillance imaginary, and a key element for understanding contemporary societies in the hiatus between the two nightmares of modernity: the fear of being vulnerable and the fear of a totally controlled society, that is, the dystopian anxiety of absolute visibility.
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Il fumetto è un medium ormai pienamente inserito nella storia della cultura moderna e in quella degli altri media audiovisivi. Ne ha condiviso l’immaginario, ma ha anche saputo recuperare il valore e l’eredità della storia della sequenza... more
Il fumetto è un medium ormai pienamente inserito nella storia della cultura moderna e in quella degli altri media audiovisivi. Ne ha condiviso l’immaginario, ma ha anche saputo recuperare il valore e l’eredità della storia della sequenza narrativa (in letteratura, in pittura e nelle altre arti).
In questo volume Pintor tenta un’analisi a tutto campo del fumetto: evidenziandone la configurazione visiva sequenziale; la forma plastica, la capacità di ibridare parola e scrittura, la diffusione e, infine, il posto che occupa nel consumo di massa e il suo rapporto con l’immaginario temporale che circonda lettore e autore.
In linea con le prospettive della collana, Figure del fumetto – traendo spunto dagli studi storici e teorici di Daniela Barbieri, Gino Frezza, Thierry Groensteen e Benoît Peters – approfondisce i temi del linguaggio e della storia evolutiva del fumetto, le sue risorse narrative, i suoi sistemi retorici e le maniere – ingegnose e sorprendenti, paradossali e lungimiranti – con cui questo medium crea nei lettori l’illusione della riproduzione degli eventi che compongono storia e racconto.
In questo volume Pintor tenta un’analisi a tutto campo del fumetto: evidenziandone la configurazione visiva sequenziale; la forma plastica, la capacità di ibridare parola e scrittura, la diffusione e, infine, il posto che occupa nel consumo di massa e il suo rapporto con l’immaginario temporale che circonda lettore e autore.
In linea con le prospettive della collana, Figure del fumetto – traendo spunto dagli studi storici e teorici di Daniela Barbieri, Gino Frezza, Thierry Groensteen e Benoît Peters – approfondisce i temi del linguaggio e della storia evolutiva del fumetto, le sue risorse narrative, i suoi sistemi retorici e le maniere – ingegnose e sorprendenti, paradossali e lungimiranti – con cui questo medium crea nei lettori l’illusione della riproduzione degli eventi che compongono storia e racconto.
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Se l’inizio di Velluto blu (1986), con l’orecchio tagliato e abbandonato nell’erba al lavoro dei coleotteri, mostra il dispositivo più comune nell’arte plastica di david lynch, che consiste nell’approssimarsi al dettaglio che tradisce... more
Se l’inizio di Velluto blu (1986), con l’orecchio tagliato e abbandonato
nell’erba al lavoro dei coleotteri, mostra il dispositivo più comune nell’arte
plastica di david lynch, che consiste nell’approssimarsi al dettaglio che tradisce l’apparente placidità, la discordanza tra il piano generale e il frammento, con Twin Peaks lo spettatore è chiamato ad abitare la geografia quotidiana della mancata corrispondenza tra l’ordine di ciò che è lontano e il caos turbolento di ciò che è vicino. attraverso la distanza delle cime innevate e la vicinanza oscena dell’occhio di laura Palmer, che inonda lo schermo nella ripresa domestica di un picnic con i suoi amici donna e James, lynch redige un trattato sull’emozione che costituisce il seme di buona parte della finzione televisiva contemporanea.
nell’erba al lavoro dei coleotteri, mostra il dispositivo più comune nell’arte
plastica di david lynch, che consiste nell’approssimarsi al dettaglio che tradisce l’apparente placidità, la discordanza tra il piano generale e il frammento, con Twin Peaks lo spettatore è chiamato ad abitare la geografia quotidiana della mancata corrispondenza tra l’ordine di ciò che è lontano e il caos turbolento di ciò che è vicino. attraverso la distanza delle cime innevate e la vicinanza oscena dell’occhio di laura Palmer, che inonda lo schermo nella ripresa domestica di un picnic con i suoi amici donna e James, lynch redige un trattato sull’emozione che costituisce il seme di buona parte della finzione televisiva contemporanea.
Research Interests:
La costruzione di una visualità fondata sulla sequenza e capace di mettere in discussione la tensione tra mobilità e staticità nelle immagini della Divina Commedia costituisce un punto di riferi- mento per la riflessione sulle condizioni... more
La costruzione di una visualità fondata sulla sequenza e capace di mettere in discussione la tensione tra mobilità e staticità nelle immagini della Divina Commedia costituisce un punto di riferi- mento per la riflessione sulle condizioni espressive del fumetto. Sia il viaggio ultramondano che l’incontro con la divinità nell’opera di Dante, così come l’idea del trattato erudito centrato su un deter- minato spazio e la costruzione di una struttura teologico-morale costituiscono forme che, dal passato classico e attraverso Dante, si proiettano su certi autori che hanno cercato di realizzare una ap- prossimazione fortemente letteraria al genere fantastico nei fumetti.
Le opere di Hugo Pratt, Fellini e Manara e Makyo, con le loro singolarità, hanno creato uno spazio di riflessione sulla sequenza di immagini in cui la figura del viaggiatore in piedi davanti a un pan- nello di immagini ritorna come maniera di meditare sulla potenza dell’immaginazione nello spazio di articolazione tra le immagini.
Le opere di Hugo Pratt, Fellini e Manara e Makyo, con le loro singolarità, hanno creato uno spazio di riflessione sulla sequenza di immagini in cui la figura del viaggiatore in piedi davanti a un pan- nello di immagini ritorna come maniera di meditare sulla potenza dell’immaginazione nello spazio di articolazione tra le immagini.
Research Interests:
As a solar hero, Flash Gordon is a character confronted with a succession of adventures locked on a constant change of scenery, with the peculiarity that his way of reaching each new location is always from the top down. This verticality... more
As a solar hero, Flash Gordon is a character confronted with a succession of adventures locked on a constant change of scenery, with the peculiarity that his way of reaching each new location is always from the top down. This verticality makes Flash Gordon a point of connection between the construction of adventures in mythological narratives, science fiction inaugurated by films such as Metropolis (1927) by Fritz Lang and platform video games (platform games). From a synthesis of German mythology, fairy tales and visual forms bequeathed by Doré's illustrations for Dante's Divine Comedy, Alex Raymond builds a mitopolitical world that becomes a link between the work of William Blake and a later legacy that extends to the vignettes of the Yugoslavian author Enki Bilal. How do visual forms, the sequential comic book narrative, account for the political forms in history? Alex Raymond chooses to build a geography of the imaginary that allows to recognise the tensions caused by the Japanese invasion of Manchuria, the fascism of Mussolini or the Spanish Civil War. However, more than a strict paraphrasis of the political situation, colonialism and fascism of the thirties or even the fear of the Far East embodied in a figure like Emperor Ming, the adventures of Flash Gordon are first and foremost a confrontation with the other. The fantastic societies in which Flash Gordon bursts in embody an apparently total otherness to the Western democracies, reduced to the dialectic between pleasure, power and duty, the reference systems that, from Bronislaw Malinowsky to Claude Lévi-Strauss, appear as pillars of Traditional societies.
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The stain has found in the mobile matter of cinema the privileged means to display all its voracity. Although in the history of the images the origin of all representation is the similarity invoked by the random contours of the blur, the... more
The stain has found in the mobile matter of cinema the privileged means to display all its voracity. Although in the history of the images the origin of all representation is the similarity invoked by the random contours of the blur, the stenciled blood on the rock, the cloud or the imprint of moisture, there is no greater threat to the figuration in the cinema than the irruption of the stain, like a syncopa capable of breaking the illusion of reality. From The Great Train Robbery (1903), by E. S. Porter, and to the films of Claire Denis, Quentin Tarantino or David Lynch, the stain constitutes a constant threat to the spectator, to the conventions of the representation.
Research Interests:
Although comic book characters can age, their memory from one date to another is not threatened by oblivion, or even by a deterioration of faculties that simply does not exist in the imaginary limbo of the white background of the page – a... more
Although comic book characters can age, their memory from one date to another is not threatened by oblivion, or even by a deterioration of faculties that simply does not exist in the imaginary limbo of the white background of the page – a place which, like the human subconscious, is immune to the idea of death. In the comic panel, as on the stone walls of prehistoric cave paintings, beings are immortal and rise up through the mineralized lightness of a fabulous universe. Unlike cinema, where the screen can restore the movement of bodies and transform them into specters, into figures of absence, the comic book lacks a time of its own, a reality imposed before the camera lens to confirm the tragic irreversibility of the word and the gesture. The aerial nature of the comic is characterized by the simultaneous presence of every panel, of all times at once. Consequently, the great Proustian phantom that looms over cinema, the impossibility of retrieving the layers of a withering memory, amnesia, turns on the page of the comic into its opposite: memory in excess, hypermnesia and its correlative, the centrality of the time traveler. How, then, is history and personal memory represented in comic books? By examining the work of Milton Caniff, Enki Bilal, Winsor McCay, Joe Sacco, Art Spiegelmen and Guibert and Lefevere I propose in this book chapter to explore the relationship between personal memory and history in the comic book, and offer a comparative reading of these texts with the work of filmmakers like Alexander Sokurov and Jean-Luc Godard.
Research Interests: History, Walter Benjamin, Philosophy of History, Memory Studies, Documentary Film, and 14 moreComics and Graphic Novels, Time Travel, Comics Journalism, Joe Sacco, Holocaust Shoah, Waltz with Bashir, Claude Lanzmann, Art Spiegelman maus, Comics Graphic Narrative Documentary, Oesterheld Héctor Germán, Alberto Breccia, Documentary, Comic book, Visual studies, Enki Bilal, and milton caniff
Avec Vacas (1992), Medem a inauguré un rapport totalement nouveau avec l’imagination dans le cadre du cinéma espagnol et est arrivé à récrire la mémoire récente du Pays basque en récupérant quelques-uns des plus importants archétypes de... more
Avec Vacas (1992), Medem a inauguré un rapport totalement nouveau avec l’imagination dans le cadre du cinéma espagnol et est arrivé à récrire la mémoire récente du Pays basque en récupérant quelques-uns des plus importants archétypes de la mythologie basque. Ses films suivants, L’écureuil rouge et Tierra, peuvent être lus comme l’adaptation du cycle mythologique de la déesse Mari et l’introduction dans la fiction d’Urtzi, Beigorri et autres créatures de la mythologie basque. Grâce à une méthodologie qui s’appuie sur l’herméneutique symbolique, il est possible d’appréhender la densité de sens dans ces films, qui culmine avec Les amants du Cercle Polaire (1998) et a son contrepoint dans le documentaire La pelote basque. La peau contre la pierre.
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La strada di Fellini (Gino Frezza & Ivan Pintor Ed) prende in esame il cinema del grande regista di Rimini come una complessa entità creativa e un’opera di immagini e suoni ancora piena di sorprese. La sua lunga carriera, dal neorealismo... more
La strada di Fellini (Gino Frezza & Ivan Pintor Ed) prende in esame il cinema del grande regista di Rimini come una complessa entità creativa e un’opera di immagini e suoni ancora piena di sorprese. La sua lunga carriera, dal neorealismo alle soglie postmoderne della fine del ventesimo secolo, dimostra le facce plurime di un sistema audiovisivo e narrativo (e altresì di una forma di pensiero) allo stesso tempo popolare, commerciale e sperimentale. I saggi (di studiosi italiani e spagnoli: Xavier Pérez, Raffaele Pinto, Núria Bou, Pilar Pedraza, Sergio Brancato, Alfonso Amendola, Paolo Fabbri) che compongono questo libro penetrano nelle radici dell’immaginario di Fellini: l’eredità del teatro barocco e il trompe l’oeil; l’onnipresenza dei fumetti americani e italiani, la costruzione del desiderio, la persistenza dei classici greco-romani e il suono del dolce stil nuovo di Dante; l’universo dei sogni e la rete fra storia personale dell’autore e progettazione dei vari film; la molteplice creatività di Fellini come disegnatore e cineasta, le sue pubblicità, il rapporto – anche personale – con artisti e poeti (Pasolini, Zanzotto).
Research Interests:
El propósito del presente capítulo del libro "Intervalo (entre geografias e cinemas)", Editado por Ana Francisca de Azevedo, Rosa Cerarols Ramírez y Wenceslao Machado de Oliveira Jr.) es proponer algunas categorías generales para... more
El propósito del presente capítulo del libro "Intervalo (entre geografias e cinemas)", Editado por Ana Francisca de Azevedo, Rosa Cerarols Ramírez y
Wenceslao Machado de Oliveira Jr.) es proponer algunas categorías generales para efectuar una aproximación primera al modo en que cineastas de tan diversa naturaleza como Béla Tarr, Wim Wenders, Chantal Akerman, Aleksandr Sokurov, Philippe Grandrieux, Claire Denis, Manoel de Oliveira o Pedro Costa afrontan la relación entre el indi- viduo, el espacio y el desplazamiento. La idea de que el cine europeo es un cine de ciudades, en el que cada gran metrópolis encuentra un cineasta capaz de reflejar sus particularidades y de transferirle su propio imaginario puede verse matizada por la atención que algunos de estos cineastas prestan hacia las vías de comunicación que emergen de esas ciudades y los no-lugares8 o espacios de puro tránsito que las circundan. La concatenación de la ciudad, la autovía y el automóvil escenifica, precisamente, la ausencia de una verdadera otredad lejana, de una verdadera frontera, que espolee el trayecto de un viaje y la pro- pensión a retratar el espacio bajo un modelo cercano a la instalación conceptual.
Wenceslao Machado de Oliveira Jr.) es proponer algunas categorías generales para efectuar una aproximación primera al modo en que cineastas de tan diversa naturaleza como Béla Tarr, Wim Wenders, Chantal Akerman, Aleksandr Sokurov, Philippe Grandrieux, Claire Denis, Manoel de Oliveira o Pedro Costa afrontan la relación entre el indi- viduo, el espacio y el desplazamiento. La idea de que el cine europeo es un cine de ciudades, en el que cada gran metrópolis encuentra un cineasta capaz de reflejar sus particularidades y de transferirle su propio imaginario puede verse matizada por la atención que algunos de estos cineastas prestan hacia las vías de comunicación que emergen de esas ciudades y los no-lugares8 o espacios de puro tránsito que las circundan. La concatenación de la ciudad, la autovía y el automóvil escenifica, precisamente, la ausencia de una verdadera otredad lejana, de una verdadera frontera, que espolee el trayecto de un viaje y la pro- pensión a retratar el espacio bajo un modelo cercano a la instalación conceptual.
Research Interests: Landscape Archaeology, Cultural Landscapes, Gaston Bachelard, Cinema, Nomadism, and 18 moreJean-Luc Godard, Zygmunt Bauman, Werner Herzog, Traveling, Bruce Chatwin, Michael Snow, Chantal Akerman, Film Studies, Landscape in Cinema, Narratology in Cinema, Bela Tarr, Wim Wenders, Manoel de Oliveira, Philippe Grandrieux, João César Monteiro, Pedro Costa, Nomadisme, Johan Van der Keuken, Philippe Garrel, and Aleksandr Sokurov
Si el inicio de Blue Velvet (1986), con la oreja cortada y abandonada a la tarea de los coleópteros entre la hierba, muestra el dispositivo más habitual en la plástica de David Lynch, que consiste en acercarse al detalle que traiciona la... more
Si el inicio de Blue Velvet (1986), con la oreja cortada y abandonada a la tarea de los coleópteros entre la hierba, muestra el dispositivo más habitual en la plástica de David Lynch, que consiste en acercarse al detalle que traiciona la placidez aparente, el desajuste entre el plano general y el fragmento, con Twin Peaks el espectador es llamado a habitar en la geografía cotidiana del desencaje entre el orden de lo lejano y el caos turbulento de lo cercano. A través de la distancia que media entre las cumbres nevadas y la proximidad obscena del ojo de Laura Palmer, que inunda la pantalla en la filmación doméstica de un picnic con sus amigos Donna y James, Lynch despliega un tratado sobre la emoción que constituye la semilla de buena parte de la ficción televisiva contemporánea, a la que este capítulo del libro Regreso a Twin Peaks (Ed. Enric Ros y Raquel Crisóstomo), se acerca.
El uso de cliffhangers, pistas falsas y non sequiturs, el uso narrativo de la música y las canciones, la construcción alusiva del mal, los personajes alegóricos, la creación de un relato desplegado en dos dimensiones paralelas mediante la coexistencia entre la topografía de la localidad y su reverso oscuro, y una concepción pictórica que en cada capítulo toma como punto de partida un concepto o tonalidad emotiva —los dobles fondos y cajones secretos en el episodio tercero de la primera temporada, la danza en el episodio segundo—, están en la raíz de mecanismos complejos en su momento compartidos con una serie como Doctor en Alaska (1990-1995), y con posterioridad heredados por series tan diversas como Los Soprano, Mad Men, True Detective, The Wire, Perdidos (Lost), Fringe o The Leftovers.
El gran motor mitopoético de la serie, la culpa sin causa, que se infiltra en cada uno de los ademanes y deseos de los personajes, sobre todo en la primera temporada, sustenta un tejido que se va urdiendo en torno al rostro lívido de Laura Palmer. El motivo central de toda la obra de Lynch, el cadáver femenino, espolea también el relato en Twin Peaks, coescrita junto a Mark Frost. En forma de descenso circular, la travesía al Otro Lado de Cooper no sólo le revela como un auténtico Morador del Umbral, la criatura de la mitología aborigen mencionada en el capítulo undécimo de la segunda temporada, sino que se adueña de la emoción del espectador para identificar su condición con la de un ser suspendido en el frágil tejido que separa Este Mundo del Otro, un enclave eterno rodeado de cortinas carmesí desde el que Laura Palmer cerró Twin Peaks advirtiendo a los espectadores «Nos vemos en veinticinco años».
El uso de cliffhangers, pistas falsas y non sequiturs, el uso narrativo de la música y las canciones, la construcción alusiva del mal, los personajes alegóricos, la creación de un relato desplegado en dos dimensiones paralelas mediante la coexistencia entre la topografía de la localidad y su reverso oscuro, y una concepción pictórica que en cada capítulo toma como punto de partida un concepto o tonalidad emotiva —los dobles fondos y cajones secretos en el episodio tercero de la primera temporada, la danza en el episodio segundo—, están en la raíz de mecanismos complejos en su momento compartidos con una serie como Doctor en Alaska (1990-1995), y con posterioridad heredados por series tan diversas como Los Soprano, Mad Men, True Detective, The Wire, Perdidos (Lost), Fringe o The Leftovers.
El gran motor mitopoético de la serie, la culpa sin causa, que se infiltra en cada uno de los ademanes y deseos de los personajes, sobre todo en la primera temporada, sustenta un tejido que se va urdiendo en torno al rostro lívido de Laura Palmer. El motivo central de toda la obra de Lynch, el cadáver femenino, espolea también el relato en Twin Peaks, coescrita junto a Mark Frost. En forma de descenso circular, la travesía al Otro Lado de Cooper no sólo le revela como un auténtico Morador del Umbral, la criatura de la mitología aborigen mencionada en el capítulo undécimo de la segunda temporada, sino que se adueña de la emoción del espectador para identificar su condición con la de un ser suspendido en el frágil tejido que separa Este Mundo del Otro, un enclave eterno rodeado de cortinas carmesí desde el que Laura Palmer cerró Twin Peaks advirtiendo a los espectadores «Nos vemos en veinticinco años».
Research Interests:
De entre todas las imágenes gestadas por la serialidad contemporánea, las del final de la tercera temporada de Twin Peaks (ABC: 1990-91; Showtime Networks: 1990-2017) constituyen un punto límite, un espacio de interrogación sobre las... more
De entre todas las imágenes gestadas por la serialidad contemporánea, las del final de la tercera temporada de Twin Peaks (ABC: 1990-91; Showtime Networks: 1990-2017) constituyen un punto límite, un espacio de interrogación sobre las formas narrativas seriales construido sobre una estética negativa o apofática, de acuerdo con el término teológico que designa la vía mística negativa de aproximación a lo divino –del griego ἀποφάναι que significa “decir no”, “negar”–. En muchos sentidos, Lynch establece un pacto con el espectador que no se apoya en la premisa de un guión cerrado ni sobre el uso de los recursos del drama isabelino y la narrativa artúrica tan presentes en la ficción televisiva contemporánea, sino sobre una fórmula hasta ahora inédita en la serialidad: la concepción de cada episodio como una visita al estudio, al taller del artista. El trabajo sobre motivos recurrentes concibe las secuencias como lienzos, ensayos o coreografías que suscitan una sensación similar a la que producen otras formas estéticas recientes fundadas sobre las ideas de gesto y huella, indagación y montaje de tiempos alternos, quebrados.
El propósito de este capítulo, contenido en el libro La estética televisiva en las series contemporáneas (Ed. Miguel Ángel Huerta y Pedro Sangro) es acercarse tanto a la vía negativa, apofática, que guía a Lynch como a una comprensión más amplia de las formas de la negatividad que la serialidad televisiva contemporánea reclama en relación con la representación del hogar y la comunidad: la cólera, el horror y el círculo serial del mal, desde una metodología comparada, fundamentanda en la iconología de Aby Warburg y basada sobre todo en el concepto de negatividad en la filosofía y la teología. A través de series tan diversas como The Leftovers (HBO: 2014-2017), True Detective (HBO: 2014-), Fringe (Fox: 2008-2013), Breaking Bad (AMC: 2008-2013), Mad Men (AMC: 2007-2015), Penny Dreadful (Showtime: 2014-2016), P’tit Quinquin (Arte: 2014) o Westworkd (HBO: 2016–) se realiza un recorrido a través de los fundamentos de la negatividad en la estética de la ficción serial contemporánea.
El propósito de este capítulo, contenido en el libro La estética televisiva en las series contemporáneas (Ed. Miguel Ángel Huerta y Pedro Sangro) es acercarse tanto a la vía negativa, apofática, que guía a Lynch como a una comprensión más amplia de las formas de la negatividad que la serialidad televisiva contemporánea reclama en relación con la representación del hogar y la comunidad: la cólera, el horror y el círculo serial del mal, desde una metodología comparada, fundamentanda en la iconología de Aby Warburg y basada sobre todo en el concepto de negatividad en la filosofía y la teología. A través de series tan diversas como The Leftovers (HBO: 2014-2017), True Detective (HBO: 2014-), Fringe (Fox: 2008-2013), Breaking Bad (AMC: 2008-2013), Mad Men (AMC: 2007-2015), Penny Dreadful (Showtime: 2014-2016), P’tit Quinquin (Arte: 2014) o Westworkd (HBO: 2016–) se realiza un recorrido a través de los fundamentos de la negatividad en la estética de la ficción serial contemporánea.
Research Interests: Georges Didi-Huberman, Martin Heidegger, David Lynch, Aby Warburg, Meister Eckhardt, and 15 moreNegativity, Lucio Fontana, Mad Men, TV Series, Mark Rothko, TV Fiction, Twin Peaks, Anish Kapoor, Byung-Chul Han, True Detective, Penny Dreadful Tv Serie, Westworld, The leftovers, Twin Peaks: The Return, and P'Tit Quinquin
La historieta constituye una parcela de los medios que utilizan la secuen-cia de imágenes estáticas para comunicar y narrar. Gracias al concepto «configuración visual secuencial», que constituye el punto de partida de este libro, es... more
La historieta constituye una parcela de los medios que utilizan la secuen-cia de imágenes estáticas para comunicar y narrar. Gracias al concepto «configuración visual secuencial», que constituye el punto de partida de este libro, es posible incorporar los factores histórico y formal en su definición como un lenguaje visual discontinuo. El tebeo se presenta, en consecuen-cia, como un medio de masas que, en el siglo XX, ha compartido su imaginario con el del cine, pero que a la vez no ha rehusado ampararse en la vasta herencia de la historia de la secuencia narrativa. En un caso y en el otro, la pregunta ¿qué caracteriza a la expresión visual de la his-torieta? parece tener un mismo corolario: la dialéctica entre continuidad y discontinuidad, que requiere ser estudiada desde un punto de vista capaz de conciliar análisis de la forma, historia y supervivencia de lógicas y estructuras visuales. En función de ese punto de vista, y del magisterio de autores como Gino Frezza, Thierry Groensteen, Benoît Peeters y Daniele Barbieri, este libro se propone aproximarse a una perspectiva formal y estructural cen-trada en el historietista, en los recursos con los que cuenta, los sistemas retóricos desarrollados por el cómic y el modo de mimesis, es decir la manera en la que se crea la ilusión de la reproducción de los aconteci-mientos que integran el relato. La historieta puede contemplarse en función de tres inscripciones fundamentales: la que surge de su perte-nencia a la configuración visual secuencial; la que afecta a su forma plástica y nace de su capacidad para hibridar palabra y escritura y, final-mente, aquella que atañe a su difusión, a su lugar en el consumo de masas y su relación con el imaginario temporal que rodea al lector y al autor. A través del cuerpo de este breve y por fuerza incompleto compendio de aspectos formales, se propone una aproximación centrada en la téc-nica que medie entre la viñeta, esto es, la unidad primera de la tensión entre discontinuidad y continuidad visual, y los dos despliegues que dan pie a la figuración secuencial: la página y el álbum.
Research Interests:
Este libro comienza con una extensa y reveladora entrevista inédita en la que Matthew Weiner, creador de Mad Men, nos confiesa sus filias, fobias e influencias, y nos desvela el verdadero origen de esta producción. A continuación, Enrique... more
Este libro comienza con una extensa y reveladora entrevista inédita en la que Matthew Weiner, creador de Mad Men, nos confiesa sus filias, fobias e influencias, y nos desvela el verdadero origen de esta producción. A continuación, Enrique Vila-Matas recupera un inquietante episodio juvenil para hablarnos del eje secreto de la serie y de cómo ésta lo reconcilió con el corazón invisible de todo relato. A ellos se suman un conjunto de autores que analizan de forma ágil y lúcida los principales temas de Mad Men: de los claroscuros del capitalismo a la literatura norteamericana contemporánea que tanto ha influido en sus guiones, del ascenso del feminismo y los derechos sociales de las minorías a la conversión de la realidad en un nuevo y absoluto objeto publicitario.
Research Interests: Television Studies, SF Film and Television, Television genres, Television And Social Change, U.S. Television Studies, and 20 moreTV, Cult television, Series TV, Television History, Television Drama, Television, Television series, TV studies, Television Aesthetics, American serial television, Televisión, Narrative, Mulitmedia editing, Journalism, Photojournalism, Storytelling, Audio and Video editing and digitizing, Television Journalism, Visual Communication, Film and Television, Mad Men, TV Series, Film and television studies, Cinema and Television, Mad Men, Nostalgia, Postfeminism, American TV series, and Donadl Draper
E-SEMINAR: "Iconography of the Pandemic" 22 June 2020 @ 4.00pm Join us for "Iconography of the Pandemic", our first event in our "Screening the Pandemic" e-seminar series! In this seminar, Ivan Pintor Iranzo will discuss how the... more
E-SEMINAR: "Iconography of the Pandemic" 22 June 2020 @ 4.00pm
Join us for "Iconography of the Pandemic", our first event in our "Screening the Pandemic" e-seminar series!
In this seminar, Ivan Pintor Iranzo will discuss how the iconography of the pandemic (the masked face, the infographic of the virus, the aesthetic of emptiness and disappearance) speaks to the themes of contagion, invasion, war, science, illness, community, sacrifice and control as well as how pandemic imagery has been employed to generate feelings of anxiety, fear, guilt, gratitude and hope. Ivan will also address the difficult questions posed by combining these images with the personalised tracking of the population. Ivan’s presentation will be followed by a response from Adrian Martin.
22 June 2020 @ 4.00pm AEST / 2am EDT / 7am BST
Join us for the first event in our new "Screening the Pandemic" international seminar series. This time we'll be joined by Ivan Pintor Iranzo and
@AdrianMartin25
Join us for "Iconography of the Pandemic", our first event in our "Screening the Pandemic" e-seminar series!
In this seminar, Ivan Pintor Iranzo will discuss how the iconography of the pandemic (the masked face, the infographic of the virus, the aesthetic of emptiness and disappearance) speaks to the themes of contagion, invasion, war, science, illness, community, sacrifice and control as well as how pandemic imagery has been employed to generate feelings of anxiety, fear, guilt, gratitude and hope. Ivan will also address the difficult questions posed by combining these images with the personalised tracking of the population. Ivan’s presentation will be followed by a response from Adrian Martin.
22 June 2020 @ 4.00pm AEST / 2am EDT / 7am BST
Join us for the first event in our new "Screening the Pandemic" international seminar series. This time we'll be joined by Ivan Pintor Iranzo and
@AdrianMartin25
Research Interests:
In the study of political communication, the search for narrative plots, metaphors, and archetypal images that ensure consistency of the construction of the tale about power is a contemporary imperative. This interdisciplinary seminar... more
In the study of political communication, the search for narrative plots, metaphors, and archetypal images that ensure consistency of the construction of the tale about power is a contemporary imperative. This interdisciplinary seminar will call on a number of experts to discuss the extent to which archetypes of universal fiction are used and modeled by the organizers of discourse that affect the public sphere. In which way these archetypes constitute the subject of recurring visual motifs? We will discuss the construction of populism in politics and we will approach the image as a story. Moreover, we will talk about how the image in politics affects the perceptions of public opinion.
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Exploration of the new digital paradigm in cinematographic and audiovisual forms, in particular related with dance performances.
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The presentation consists of an archeological approach to film theory from contemporary contributions to images and visual phenomena by Hito Steyerl, Mark Fisher and Byung Chul-han.
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Analysis of the political representations in Italian contemporary tv-fiction, from 1992 e 1993 to Gomorra, Suburra and other TV series.
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In the present communication and through a methodology based on the visual iconology of Aby Warburg, an approach is taken to the iconographic analysis of the visual and gestural codes with which the figure of the immigrant is represented... more
In the present communication and through a methodology based on the visual iconology of Aby Warburg, an approach is taken to the iconographic analysis of the visual and gestural codes with which the figure of the immigrant is represented in the Spanish media and public sphere.
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Título: Seminario interdisciplinar. El cómic y la Guerra Civil española Descripción: Los cómics o la novela gráfica es un medio de expresión artístico que aúna en una narrativa muy particular e idiosincrásica todo de tipo historias, en el... more
Título: Seminario interdisciplinar. El cómic y la Guerra Civil española Descripción: Los cómics o la novela gráfica es un medio de expresión artístico que aúna en una narrativa muy particular e idiosincrásica todo de tipo historias, en el que caben todo tipo de géneros y dirigido a todo tipo de público. Una característica fundamental del cómic es su capacidad para la representación de los acontecimientos históricos. Concretamente en el caso de la Guerra Civil española existen dos estudios recientes, El cómic sobre la Guerra Civil de Michel Matly y Las caras de la guerra de Tomás Ortega, que muestran la importancia que este conflicto ha tenido en el cómic no solo últimamente, sino durante los propios años de la contienda. En este seminario se trata de mostrar cómo un medio como el cómic ha jugado el papel de cronista de la Guerra Civil a lo largo de la historia, desde los cómic que se publicaban de forma coetánea al conflicto hasta obras más recientes que tratan de jugar el papel de recuperadores de la memoria. Este análisis se realizará en forma de panel con algunos de los principales expertos en estudios de cómic en España. Se completará el programa del seminario con un estudio de caso centrado en la capacidad del cómic para adaptar obras literarias, centrado en las obras de Paul Preston, La Guerra Civil Española, La Muerte de Guernica y Soldados de Salamina adaptadas por José Pablo García. Lugar: Seminario 3 Aulario María de Guzmán (antigua Facultad de Documentación). C/ San Cirilo, s/n. Duración. 10h00-14h00 (4 horas) Estudiantes a los que va dirigida: La actividad va inicialmente dirigida a los estudiantes de todos los Programas de Doctorado de la rama de Arte y Humanidades. Como se ha comentado la interdisciplinariedad del cómic hace que los grupos de investigación relacionados con el mismo en las distintas universidades del mundo se encuentren repartidos en áreas tan diversas como la Historia, la Literatura o las Bellas Artes. La aproximación del seminario, que contemplará aspectos relacionados con todos esos ámbitos, hace que sea adecuado para todos los estudiantes de cualquier programa relacionado con la rama antes mencionada. Existen proyectos importantes en diferentes universidades del mundo que relacionan el cómic con los ámbitos de la medicina, las ciencias o la ingeniería. Aunque estos aspectos no se cubrirán en el
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Some of the filmmakers most interested in the relationship between historic representation and editing, such as Eisenstein and Godard, have worked in many ways with the tools of the discontinuous image of the comic-book. Godard’s essays,... more
Some of the filmmakers most interested in the relationship between historic representation and editing, such as Eisenstein and Godard, have worked in many ways with the tools of the discontinuous image of the comic-book. Godard’s essays, as well as those by Marker, Farocki, Gianikian and Ricci-Lucchi, employ different kinds of tactics, but all of them look for a similar kind of engagement with the viewer, the same as in the comic-essays and meta-comics of Art Spiegelman, Andrea Pazienza, Alberto Breccia, Richard McGuire, Igort or Frédéric Pajak. Taking as a reference Aby Warburg’s “interval iconology” and Didi-Huberman’s work L’Oeil de l’Histoire, this paper approaches tactics and ways of engagement in the reflection on the durative / reflexive power of the images in the field of visual essay.
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Seminario internazionale | 27 settembre 2018, h. 9.30-20.00, Barcelona. I. ARIANNA: ESTATICA MELANCONIA II: MOTIUS VISUALS A L’ ESFERA PÚBLICA Including contributions by: Sara Agnoletto, Monica Centanni, Victoria Cirlot, Maurizio... more
Seminario internazionale | 27 settembre 2018, h. 9.30-20.00, Barcelona.
I. ARIANNA: ESTATICA MELANCONIA
II: MOTIUS VISUALS A L’ ESFERA PÚBLICA
Including contributions by: Sara Agnoletto, Monica Centanni, Victoria Cirlot, Maurizio Ghelardi, Silvia de Laude, Matías Julián Nativo, Clio Nicastro, Alessia Prati, Thays Tonin, Daniel Villamediana. Jordi Balló,Eduard Cairol. Ana Aitana Fernández , Manuel Garín, Mercè Oliva, Ivan Pintor, Alan Salvadó.
I. ARIANNA: ESTATICA MELANCONIA
II: MOTIUS VISUALS A L’ ESFERA PÚBLICA
Including contributions by: Sara Agnoletto, Monica Centanni, Victoria Cirlot, Maurizio Ghelardi, Silvia de Laude, Matías Julián Nativo, Clio Nicastro, Alessia Prati, Thays Tonin, Daniel Villamediana. Jordi Balló,Eduard Cairol. Ana Aitana Fernández , Manuel Garín, Mercè Oliva, Ivan Pintor, Alan Salvadó.
Research Interests: Melancholy, Greek Myth, Ecstatic Religious Experience, Aby Warburg, 1968, and 14 moreMay 1968, Ancient Greek Mythology, Ariadne, Sessantotto, Mnemosyne, Pathosformel, Mnemosyne Atlas, Aby Warburg. Mnemosyne-Atlas, Melancolía, IUAV Venezia, Mitología Griega, Universitat Pompeu Fabra, Arianna, and Maggio '68
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VIVES-FERRÁNDIZ SÁNCHEZ, Luis (ed.). Sínto-mas culturales. El legado de Erwin Panofsky. Vitoria-Gasteiz: Sans Soleil, 2018, 222 págs., ISBN: 978-84-948396-3-4. A través de su acercamiento a las imágenes de Durero, Tiziano, la arquitectura... more
VIVES-FERRÁNDIZ SÁNCHEZ, Luis (ed.). Sínto-mas culturales. El legado de Erwin Panofsky. Vitoria-Gasteiz: Sans Soleil, 2018, 222 págs., ISBN: 978-84-948396-3-4. A través de su acercamiento a las imágenes de Durero, Tiziano, la arquitectura gótica, los primitivos flamencos o los motivos visuales de Pandora y Cronos, la principal aspiración del historiador del arte Erwin Panofsky siempre fue comprender el punto de encuentro entre lo humano, la humanitas, y su figuración. ¿Cómo, y bajo que códigos y fórmulas de transmisión adquieren forma y figura determinados aspectos de la expresión emocional humana moldeados por la tradición?
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Imaginado, real o anhelado, el hogar, su ausencia y su espectro constituyen el motor narrativo de la mayor parte de obras de los hermanos Jaime y Beto Hernández, juntos o en solitario, desde el gran melodrama ambientado en la mítica... more
Imaginado, real o anhelado, el hogar, su ausencia y su espectro constituyen el motor narrativo de la mayor parte de obras de los hermanos Jaime y Beto Hernández, juntos o en solitario, desde el gran melodrama ambientado en la mítica localidad de Palomar y publicado en la revista Love & Rockets, hasta la serie sobre el personaje de Luba (Beto) y la saga Locas (Jaime), con continuaciones como Chapuzas de amor, sobre el personaje de Maggie Chascarrillo. La recreación de modelos provenientes del melodrama cinematográfico como la obra de Douglas Sirk y John M. Stahl, así como de la soap opera y los cómics de los años cincuenta, constituye el fundamento desde el que los hermanos Hernández exploran sobre todo caracteres femeninos como Luba, Fritz, Venus o Errata Stigmata y la construcción metafórica o real del hogar en torno a ellas. A partir de una aproximación a algunos de los motivos asociados a la representación del hogar y la encrucijada entre tradición y modernidad y cultura hispana y estadounidense, se propone un acercamiento hermenéutico e iconográfico a los personajes y la figuración del hogar en la obra de los Hernández.
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The avalanche of images that have reached our screens in the last two years means that we are reconsidering how to articulate the negotiation between the imaginary sustained by the different conceptual frameworks activated by the pandemic... more
The avalanche of images that have reached our screens in the last two years means that we are reconsidering how to articulate the negotiation between the imaginary sustained by the different conceptual frameworks activated by the pandemic crisis (contagion, invasion, war, science, sacrifice, guilt, illness, the discipline of bodies), the incessant flow of data, and the personalized monitoring or tracking of the population. Today, although we are the ones giving our facial expressions to FaceApp or the locking system of our Smartphone, our gaze is wholly externalized. From the pioneering views of by Newbronner's pigeon to the Chinese Dragonfly Eye surveillance system, the image has become automated to the point of losing the two principles of its definition: produced by a human being to be seen by a human being.
Through a methodology based on Aby Warburg’s visual iconology, this paper establishes a comparison between the externalization of the gaze and the aesthetics of big data in contemporary images -TikTok, Twitch, video surveillance- and the counterpoint of the latest productions of filmmakers such as Jean-Marie Straub, Céline Sciamma, Alice Rohrwacher, Apitchapong Weerasethakul, M. Night Shyamalan, Mia Hansen -Løve, Mati Diop and Abel Ferrara, who seek both an aesthetic of the “hyper-location” and crack in the visual homogeneity caused by the pandemic.
Through a methodology based on Aby Warburg’s visual iconology, this paper establishes a comparison between the externalization of the gaze and the aesthetics of big data in contemporary images -TikTok, Twitch, video surveillance- and the counterpoint of the latest productions of filmmakers such as Jean-Marie Straub, Céline Sciamma, Alice Rohrwacher, Apitchapong Weerasethakul, M. Night Shyamalan, Mia Hansen -Løve, Mati Diop and Abel Ferrara, who seek both an aesthetic of the “hyper-location” and crack in the visual homogeneity caused by the pandemic.
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Approach to the contemporary comics imaginary.
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Through a work of comparative iconography, this communication tries to highlight not only the social, visual and relational construction of the SARS-COV2 pandemic but also its impact on our own social contract with images. The media... more
Through a work of comparative iconography, this communication tries to highlight not only the social, visual and relational construction of the SARS-COV2 pandemic but also its impact on our own social contract with images. The media coverage of the pandemic and its elaboration through social networks has been developed, on occasions, according to an illusion of transparency conceived as dogma and based, above all, on the dissemination of statistical data. At the same time, the figurative and fictional echoes that his images summon are articulated as a phenomenon of power that modifies the modes of relationship with the state and supports the almost theological construction of a series of new rituals in which the political status of the individual remains redefined.
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The concept of visual motif refers to an iconographic pattern of cultural representation transmitted and reinterpreted throughout the history of images, which fosters narrative and emotional recognition. One of the main projects of the... more
The concept of visual motif refers to an iconographic pattern of cultural representation transmitted and reinterpreted throughout the history of images, which fosters narrative and emotional recognition. One of the main projects of the CINEMA research group of the Pompeu Fabra University is the funded project Visual Motifs in the Public Sphere, Production and circulation of images of power in Spain, 2011-2017 (MOVEP). This project draws upon the premise that the images that represent power in media and other public sphere discourses are based on visual motifs. Our hypothesis is that, underneath the images that we consume in contemporary media everyday, there is a systematized series of visual motifs that represent common situations of public life, from the seize of power in presidential inaugurations, to the depiction of corporate bankrupt, or the occupation of a public square.
Thus the main goal of our project is to analyze the recurrence, production and circullation of specific motifs related with the representation of power in images (both still and moving) released in the press, digital media and television in Spain between 2011 and 2017. In this paper, working with a database of 8003 newspaper frontpages and 10426 television news broadcasts openings, and through a methodology based on the visual iconology of Aby Warburg, a first approach is made to the analysis of the visual codes with which the figure of the immigrant under Spanish reception. From the most obvious pictorial iconographic survivals –The Raft of the Medusa (Géricault, 1819)– to the proximity with gestural explorations on the mechanisms of domination such as those that offer series such as Black Mirror (2011- 2016), we want, above all to examine not only what is visible, but also everything that is invisible in the visual construction of the migrant otherness.
Thus the main goal of our project is to analyze the recurrence, production and circullation of specific motifs related with the representation of power in images (both still and moving) released in the press, digital media and television in Spain between 2011 and 2017. In this paper, working with a database of 8003 newspaper frontpages and 10426 television news broadcasts openings, and through a methodology based on the visual iconology of Aby Warburg, a first approach is made to the analysis of the visual codes with which the figure of the immigrant under Spanish reception. From the most obvious pictorial iconographic survivals –The Raft of the Medusa (Géricault, 1819)– to the proximity with gestural explorations on the mechanisms of domination such as those that offer series such as Black Mirror (2011- 2016), we want, above all to examine not only what is visible, but also everything that is invisible in the visual construction of the migrant otherness.