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Només Metadades Item type: Ítem , Images to raise our gaze: Fragments from a conversation with Luis Ospina and Camilo Restrepo(Universitat Pompeu Fabra, 2019) Sourdis, Carolina; Ospina, Luis; Restrepo, CamiloIn this conversation, Luis Ospina and Camilo Restrepo, two filmmakers who personify two periods in Colombian cinema and history, reflect on the presence of dead bodies in cinema and, particularly, of corpses as a filmic matter in their respective works and poetics. On the basis of a similar questionnaire carried out simultaneously with each filmmaker, the text brings together common and dissonant motifs to outline a possible generational arc of Colombian cinema in which the cinematographic representation of the corpse is presented as a historiographical and political motif in order to carry out an interpretation of cinema and history.Només Metadades Item type: Ítem , FULL ISSUE: Vol 7, No 12 (2019) (ENG/ESP/CAT)(Universitat Pompeu Fabra, 2019)Només Metadades Item type: Ítem , Iconographies in the public sphere. Fiction devices in the representation of power (ENG/ESP)(Universitat Pompeu Fabra, 2019) Balló, Jordi; Pintor Iranzo, IvanNomés Metadades Item type: Ítem , Comedies with corpses but without weeping or mourning(Universitat Pompeu Fabra, 2019) Parés, Luis E.The article questions the problematic figuration of the corpse in the history of Spanish cinema and particularly in the genre of comedy. Starting with a verification of the centrality of death and its representations in Spanish culture, the author inquires into the ways in which corpses are present in our cinema and how the approach to this motif explains a particular attitude in terms of history and encodes a critical eye or an escapist attitude on the part of filmmakers and films. After tracing a genealogy of its representations, taking the bodies of the fallen in the Spanish Civil War as the first important corpses, the text creates a symptomatic history of the different forms of corpse representation in Spanish post-war cinema, focusing on the way in which the figure is shifted towards the field of comedy and its evolution, going from an evasive, depoliticized approach towards the territory of darkness and critical penetration. The author also points to the relevance of corpse representation in the cinema of the Transition, and its disappearance when democracy was consolidated. Finally, the representation of the corpse is established as a significant tool for confirming the critical load of Spanish cinema in relation to its history and its presentNomés Metadades Item type: Ítem , Screening Power: Harry Truman and the Nuclear Leviathan (ENG)(Universitat Pompeu Fabra, 2019) Freda, IsabelleHarry Truman’s succession to the United States presidency upon Franklin Roosevelt’s death in 1945 thrust an obscure and inexperienced politician into the center of one of the 20th century’s most critical historical moment: the final months of World War II, as the United States was preparing to deploy nuclear weapons for the first time. Truman’s clear unequalness (in both image and substance) to the tasks at hand, in juxtaposition with the epic scale of the tasks themselves, provides a unique exposure of the illusory nature of presidential authority in the Nuclear Age. Using Thomas Hobbes’s Leviathan as a means of delineating the theory and image of political sovereignty, this essay examines three distinct moments from the early days of Truman’s administration that serve to elucidate the absence of presidential power and control that continues to this day to underlie the media apparatus that defines the American presidency.Només Metadades Item type: Ítem , Notes for a historical study of corpses as cinematographic figures(Universitat Pompeu Fabra, 2019) Benavente, Fran; Fillol, Santiago; Salvadó Corretger, GlòriaNomés Metadades Item type: Ítem , The pathos formulae and their survival (ENG/ESP)(Universitat Pompeu Fabra, 2019) Cirlot, VictoriaThis article attempts to set out and understand what art historian Aby Warburg called Pathosformel (pathos formulae), a key concept in his studies, though he never expressly offered a definition, nor explained what his understanding of it was. The emergence of the concept is traced in his work, deciphering its meaning and its implications for the analysis of images, also from the most significant and recent bibliography on the subject. Finally, the Pathosformel concept is applied to a contemporary photographic image which enables us to better understand its effect in the way it is received by its viewers, thus establishing a dialogue between the iconographic tradition of the past and the present.Només Metadades Item type: Ítem , FILLOL, Santiago. Historias de la desaparición. El cine desde Franz Kafka, Jacques Tourneur y David Lynch. (ENG/ESP)(Universitat Pompeu Fabra, 2019) Mirizio, AnnalisaNomés Metadades Item type: Ítem , Harun Farocki: On Display: Peter Weiss A Production Dossier (ENG)(Universitat Pompeu Fabra, 2019) Farocki, HarunPublished in: PANTENBURG, Volker; DE SEYNES, Elsa; et al. (2016). Harun Farocki: On Display: Peter Weiss. Berlin: Harun Farocki Institut and Motto BooksNomés Metadades Item type: Ítem , Pathos in Catalonia: the politics of images in the era of memes (ENG/ESP)(Universitat Pompeu Fabra, 2019) Vives-Ferrándiz Sánchez, LuisThis article focuses on the study of two contextualized images within Catalonia’s process of independence in order to analyze the role of the visual tradition in contemporary political scenarios. The presence of emotions and pathos in some symbolic images linked with the October 1 referendum brings up to date the intellectual legacy of Aby Warburg and his notion of Pathosformel, as applied to the study of contemporary visual culture and Internet memesNomés Metadades Item type: Ítem , The Power Vacuum in Italy (ENG)(Universitat Pompeu Fabra, 2019) Pasolini, Pier PaoloPublished in: PASOLINI, Pier Paolo (1975). Il vuoto del potere in Italia. Corriere della Sera, 1st February 1975. https://www.corriere.it/speciali/pasolini/potere.html [access: April 1st 2019] The first version of this translation was published in the blog Città Pasolini in 2016: http://cittapasolini.blogspot. com/2016/09/the-vacuum-of-power-il-vuoto-del-potere.html [access: April 1st 2019].Només Metadades Item type: Ítem , Memory and the river(Universitat Pompeu Fabra, 2019) Basualdo, AnaThis article takes the reader on a journey through Remembrance Park (the commemorative area in the city of Buenos Aires, which looks onto Río de laPlata, where so many corpses ended up submerged) which intertwines the time of horror with a time that wonders which monuments, which representationscan, must, should (?) be erected, practiced, to give substance, body, to what has been taken away. Questions that require us to initiate a dialogue with thefictional works of H.I.J.O.S. (Spanish acronym for Sons and Daughters for Identity and Justice Against Forgetting and Silence, which coincidentally also reads as“children” in Spanish) of the desaparecidos (“missing people”) that started to produce their own stories over the last 20 years.Només Metadades Item type: Ítem , DIDI-HUBERMAN, Georges. Pueblos en lágrimas, pueblos en armas. El ojo de la historia, 6. (ENG/ESP)(Universitat Pompeu Fabra, 2019) Santaolaya, ClaraNomés Metadades Item type: Ítem , From Pasolini to Moro: Notes on two unburied corpses and Italian cinema(Universitat Pompeu Fabra, 2019) Mirizio, AnnalisaThis text sets out to present the cinematic representation of Pier Paolo Pasolini and Aldo Moro from the idea of the “unburied corpse”. I propose here that, due to the circumstances of their deaths, the lifeless bodies of the filmmaker and the politician do not endorse their public identity but rather overflow and unfold it. Their corpses configured an identity of ordinary man that replaced the image of the public man in the Italian collective imagination and contended to the public character the space of representation. The text recovers some proposals of The Moro Affair (L’affaire Moro, Leonardo Sciascia, 1978) to reconstruct the links between these two protagonists of the intellectual and political life of the Years of Lead. I also analyze the way in which Italian cinema has attempted to interpret the split figures of Moro and Pasolini and their unburied corpses.Només Metadades Item type: Ítem , Art, a Test Site (ENG)(Universitat Pompeu Fabra, 2019) Steyerl, Hito; Fernandes, JoãoPublished in: GUERRA, Carles; STEYERL, Hito; FERNANDES, João (2015). Hito Steyerl: duty-free art. Madrid: Museo Nacional Centro de Arte Reina Sofía. Catalogue published to accompany the exhibition held from 10 November 2015 to 21 March 2016.Només Metadades Item type: Ítem , VILARÓ I MONCASÍ, Arnau. "La caricia del cine. La invención figurativa de la Nouvelle Vague". Shangrila, Santander, 2017, 325 pp.(Universitat Pompeu Fabra, 2019) Sánchez, SergiNomés Metadades Item type: Ítem , Ruins. A visual motif of the Spanish real estate crisis (ENG/CAT)(Universitat Pompeu Fabra, 2019) Gual, Joan MiquelThroughout history, ruins have represented the traces of fallen empires and post-battle landscapes. Progressively, with the urbanization of the world, there are more and more ruins which are the result of rapid construction that leaves visible traces: viewed from the air they resemble metastases, or scars. Such ruins become garbage, remains that are derived from intensive exploitation of the territory based on the rationale of the accumulation of capital, rather than the interests of the general public or environmental sustainability. Many television reports, movies and photographic works have addressed the visual motif of ruins in the context of the crisis that began in 2008. The aim of this paper is to contribute to the ongoing reflection on the issue, by examining various nonfiction titles that were published after the Auken Report (2009). My objective is to show the abundance of audiovisual representations which, apart from the testimonies, have served as criticisms of the Spanish development model from an environmental perspective and the marked inequality that this model generates.Només Metadades Item type: Ítem , The political relevance of ‘almost trivial-looking things’. An interview with Theo van Leeuwen (ENG)(Universitat Pompeu Fabra, 2019) Oliva, MercèIn this interview, Theo van Leeuwen reflects on the role of social semiotics and iconography as research methods for identifying the ideology conveyed by multimodal texts and signifying practices. Van Leeuwen defends the relevance of analyzing and understanding what seems trivial and apolitical, such as images, toys, PowerPoint presentations and spaces, all of which shape our worldview and establish the possibilities and limits of social practices and relationships, as well as their role in legitimating (or challenging) the social order. The last section of the interview is devoted to an analysis of overtly political images: van Leeuwen talks about how politicians present themselves to the media in the current era of politainment; reflects on how social movements use the visual to stir up debate and challenge dominant discourses and, finally, he discusses memes as examples of popular humor and participatory culture and their potential and limitations in terms of challenging and fostering social change.Només Metadades Item type: Ítem , BENAVENTE, Fran. El héroe trágico en el western. El género y sus límites (ENG/CAT)(Universitat Pompeu Fabra, 2019) Vilaró Moncasí, ArnauNomés Metadades Item type: Ítem , Buoying corpses up: A journey between Sunset Blvd. (1950) and Twin Peaks (1990-2017)(Universitat Pompeu Fabra, 2019) Pérez-Pamies, Daniel; Lopera-Mármol, MartaThis article uses a comparative and hermeneutical analysis to explore the similarities and differences between the cinematographic work of Billy Wilder,in particular, Sunset Blvd. (1950), and David Lynch and the well-known television series Twin Peaks (David Lynch & Mark Frost, CBS, 1990-1991), as well as itswidely-expected continuation: Twin Peaks: The Return (David Lynch & Mark Frost, Showtime, 2017), paying special attention to the representation of the corpse both in narrative and historical terms. The hypothesis of the authors is that the figuration of the dead contains and symbolizes a specific model of representation at the same time as it anticipates the appearance of a new one. In conclusion, the body in suspension, located in the gap between life and death, functions as a hinge between the past and the future.