Expresiones audiovisuales

Recuerdo cuando hablabas por mi boca. La única manera de escribir era hacerlo en compañía. Tú, yo y alguno más éramos nosotros. Nunca supe con seguridad cuántos. Los suficientes para convertir cada texto en un manifiesto. Cómo olvidar aquellas tardes en presencia de una imagen. Siempre encontrábamos razones para prenderle fuego al molino. Alumbrábamos con la antorcha buscando una imagen. Indeterminada, mística, ideal. Una imagen excelente, una imagen que fuera todas las imágenes. Enfrentarnos a la imagen, a su materia, al residuo de su realidad determinada, nos producía pavor. Por eso corríamos a sacrificarla, por eso prendíamos fuego al molino. Ella, el monstruo, el estigma, la imagen. Absolverla arruinaba la diversión. En el molino platónico de las imágenes debía regir el nosotros.
Diógenes se habría burlado veinticinco siglos atrás. Nietzsche, cambiando Atenas por la ciudad de la vaca de muchos colores, hace menos de dos. Pero el nosotros estaba justificado. Tenía fe en su existencia, hasta el punto de encubrirla con la ciencia. Nosotros éramos tú, yo y alguno más, pero también los libros que habíamos leído, las películas que habíamos visto, las conversaciones que habíamos tenido y las clases a las que habíamos asistido. Escribíamos con palabras prestadas que nunca eran devueltas. Socializamos nuestras deudas. Hicimos caso a los versos del poeta, buscamos evidencias de lo oscuro, cambiamos sus hojas por el mundo. Vinimos a este libro con ojos, lo abandonamos sin ellos.

Ricardo Cavolo recrea a modo de diario personal una historia del cine a través de sus 110 películas imprescindibles. Con más de 100 ilustraciones y textos escritos a mano, con notas y anécdotas personales.

This book focuses on the output of women film directors in the period post Millennium when the number of female directors working within the film industry rose substantially. Despite the fact that nationally and internationally women film directors are underrepresented within the industry, there is a wealth of talent currently working in Britain. During the early part of the 2100s, the UKFC instigated policies and strategies for gender equality and since then the British Film Institute has continued to encourage diversity. British Women Directors in the New Millennium therefore examines the production, distribution and exhibition of female directors’ work in light of policy. The book is divided into two sections: part one includes a historical background of women directors working in the twentieth century before discussing the various diversity funding opportunities available since 2000. The second part of the book examines the innovation, creativity and resourcefulness of British female film directors, as well as the considerable variety of films that they produce, selecting specific examples for analysis in the process.

Palgrave European Film and Media Studies is dedicated to historical and contemporary studies of film and media in a European context and to the study of the role of film and media in European societies and cultures. The series invite research done in both humanities and social sciences and invite scholars working with the role of film and other media in relation to the development of a European society, culture and identity. Books in the series can deal with both media content and media genres, with national and transnational aspects of film and media policy, with the sociology of media as institutions and with audiences and reception, and the impact of film and media on everyday life, culture and society. The series encourage books working with European integration or themes cutting across nation states in Europe and books working with Europe in a more global perspective. The series especially invite publications with a comparative, European perspective based on research outside a traditional nation state perspective. In an era of increased European integration and globalization there is a need to move away from the single nation study focus and the single discipline study of Europe.

The series will publish book-length studies, essay collections, and readers on sexualities and power, queer studies and class, feminisms and race, post-coloniality and nationalism, music, media, and literature. Traditional, transcultural, theoretically savvy, and politically sharp, this series will set the stage for new directions in the changing field. We will accept well-conceived, coherent book proposals, essay collections, and readers.

Pop music lasts. A form all too often assumed to be transient, commercial and mass-cultural has proved itself durable, tenacious and continually evolving. As such, it has become a crucial component in defining various forms of identity (individual and collective) as influenced by nation, class, gender and historical period. Pop Music, Culture and Identity investigates how this enhanced status shapes the iconography of celebrity, provides an ever-expanding archive for generational memory and accelerates the impact of new technologies on performing, packaging and global marketing. The series gives particular emphasis to interdisciplinary approaches that go beyond musicology and seeks to validate the informed testimony of the fan alongside academic methodologies.

This series concerns Comics Studies—with a capital “c” and a capital “s.” It feels good to write it that way. From emerging as a fringe interest within Literature and Media/Cultural Studies departments, to becoming a minor field, to maturing into the fastest growing field in the Humanities, to becoming a nascent discipline, the journey has been a hard but spectacular one. Those capital letters have been earned. Palgrave Studies in Comics and Graphic Novels covers all aspects of the comic strip, comic book, and graphic novel, explored through clear and informative texts offering expansive coverage and theoretical sophistication. It is international in scope and provides a space in which scholars from all backgrounds can present new thinking about politics, history, aesthetics, production, distribution, and reception as well as the digital realm. Books appear in one of two forms: traditional monographs of 61,000 to 90,000 words and shorter works (Palgrave Pivots) of 20,000 to 50,000 words. All are rigorously peer-reviewed. Palgrave Pivots include new takes on theory, concise histories, and—not least—considered provocations. After all, Comics Studies may have come a long way, but it can't progress without a little prodding. Series Editor Roger Sabin is Professor of Popular Culture at the University of the Arts London, UK. His books include Adult Comics: An Introduction and Comics, Comix and Graphic Novels, and he is part of the team that put together the Marie Duval Archive. He serves on the boards of the main academic journals in the field and reviews graphic novels for the international media.

"Tras las lentes de Isabel Coixet: Cine, Compromiso y Feminismo" es el estudio más completo hasta la fecha sobre la obra de Isabel Coixet, una de las más prolíficas, versátiles y cosmopolitas cineastas del panorama cinematográfico actual. El volumen examina la producción de la directora catalana, desde cuatro ángulos diferentes. La primera parte recorre las temáticas generales de su producción: los lugares, las miradas, las texturas, los silencios y los sonidos, y su diálogo con la teoría fílmica feminista. La segunda disecciona al detalle sus películas de ficción, desde Demasiado viejo para morir joven (1989) hasta Learning to Drive (2114). La tercera se centra en los documentales, su trabajo más explícitamente social. Y la última ofrece una mirada sobre la cineasta más allá de su obra fílmica, completando así su retrato.

El trabajo ha sido coordinado y editado por Barbara Zecchi. En él colaboran relevantes especialistas de distintas universidades norteamericanas y europeas.

The battle between Mattel, the makers of the iconic Barbie doll, and MGA, the company that created the Bratz dolls, was not just a war over best-selling toys, but a war over who owns ideas.

When Carter Bryant began designing what would become the billion-dollar line of Bratz dolls, he was taking time off from his job at Mattel, where he designed outfits for Barbie. Later, back at Mattel, he sold his concept for Bratz to rival company MGA. Law professor Orly Lobel reveals the colorful story behind the ensuing decade-long court battle.

This entertaining and provocative work pits audacious MGA against behemoth Mattel, shows how an idea turns into a product, and explores the two different versions of womanhood, represented by traditional all-American Barbie and her defiant, anti-establishment rival―the only doll to come close to outselling her. In an era when workers may be asked to sign contracts granting their employers the rights to and income resulting from their ideas―whether conceived during work hours or on their own time―Lobel’s deeply researched story is a riveting and thought-provoking contribution to the contentious debate over creativity and intellectual property.

Este volumen, pese a estar compues­to por trabajos y ensayos escritos a lo largo de muchos años, es un libro unitario. Como el autor aclara en su prólogo, se trata, fundamentalmente, de reflexionar críticamen­te sobre cine, uno de los lenguajes que mejor han atravesado la cultura contemporánea, pero también sobre los efectos políticos e ideológicos que lo caracterizan. Hay, por tanto, un hilo conductor que otorga coherencia y unidad al conjunto. De la "Nouvelle vague" que dio inicio a los nuevos cines en la década de los años sesenta del pasado siglo a los festivales independientes del final del franquismo, de Akira Kurosawa a Gregory LaCava y Javier Maqua, del estructuralismo al estudio del "aparato" cinematográfico, la mirada de Manuel Vidal Estévez aúna el rigor teórico y la claridad expositiva de quien, como miembro que fue del colectivo "Con­tracampo", siempre consideró la labor del crítico no en términos es­téticos o cinefílicos, sino como forma de intervención en la realidad del tiempo que nos ha tocado vivir, asumiendo que, aunque hoy parezca olvidarse, teoría y política siempre van de la mano.