Welcome to this <\/em>SLACextras takeover of<\/em> Medi\u00e1tico which, in the spirit of <\/em>SLACextras, features additional material to accompany the print journa<\/em>l Studies in Spanish and Latin American Cinemas 19.2<\/em>. SLAC 19.2<\/em> was edited by Gina Herrmann (University of Oregon) and Isabel Ja\u00e9n Portillo (Portland State University) and published in summer 2022. This SLACextras takeover of<\/em> Medi\u00e1tico features some of the keynotes and presentations from Cine Lit 9 International Conference of Hispanic Film and Fiction \u201cCine-Lit 9,\u201d which took place in Portland, Oregon in March 2019<\/em>.<\/p>\n\n\n\n We are delighted to present four Cine-lit posts at<\/em> Medi\u00e1tico. Firstly, an excellent essay<\/a> by Barbara Zecchi<\/a>, which focuses on recent films directed by young female filmmakers centred on the representation of older women. Professor and Head of the Film Studies Program at UMassAmherst, Zecchi examines the use of blur as a cinematic technique suggesting that these out-of-focus images displace what Woodward has called \u201cthe youthful structure of the gaze\u201d and substitute it with a visuality that she define sas \u201cpreosbyoempathic\u201d.<\/em><\/p>\n\n\n\n Secondly,<\/em> a thought provoking piece<\/a> by Deborah Martin<\/a>, <\/strong>which takes as its starting point B Ruby Rich’s ” ‘revisionist history’ of the male-associated New Latin American Cinema” \u2018An\/Other View of the New Latin American Cinema\u2019<\/em> (1997). Professor of Latin American Film and Culture at University College, London, Martin explores the ways Rich\u2019s ideas have emerged and are continuing to emerge in the work of contemporary scholars of Latin American women\u2019s filmmaking and Latin American filmmakers, particularly Lucrecia Martel. <\/em><\/p>\n\n\n\n Thirdly, and continuing with this SLACextras takeover of Mediatico we present Maria B. Clark’s<\/em> compelling examination<\/a> of<\/em> a feminine gaze and its representation through the cinematography of the fantastic in <\/em>Las vidas posibles\/Possible Lives<\/a> (Sandra Gugliotta, 2006) and <\/em>La marea\/The Tide (Diego Mart\u00ednez Vignatti, 2007).<\/em> Clark argues, that while the fantastic provokes uncertainty for the spectator by subverting the ground rules of realism, it functions as an enabling structure for the expression of feminine desire in <\/em>Las vidas posibles and provides access to feminine subjectivity defined by motherhood in<\/em> La marea. Maria B. Clark <\/strong>is professor emerita of Spanish at Carson-Newman University in Tennessee. She specializes in contemporary short fiction by women writers from the Southern Cone with feminist and psychoanalytic approaches to the fantastic and cinematographic strategies of the fantastic in Argentine film. She has published in the Journal of Gender and Sexuality Studies, Ciberletras, Semiosis, Cine y literatura, Inti, Studies in Twentieth Century Literature, Letras femeninas, and contributed book chapters to Narrativas del miedo<\/a> and Films with Legs<\/a>. Her current research includes melodrama and gender issues in films of the New Argentine Cinema. <\/em><\/p>\n\n\n\n Fourth, we are delighted to continue with a rousing manifesto* in which Deborah Shaw Professor of Film and Screen Studies at the University of Portsmouth, reflects on the growth of, and critical response to, women\u2019s filmmaking in Latin America. Professor Shaw is founding co-editor o<\/em>f Transnational Screens, author of<\/em> Contemporary Latin American Cinema: Ten Key Films<\/a>, Continuum Publishers, (2003)<\/em>, The Three Amigos: The Transnational Filmmaking of Guillermo del Toro, Alejandro Gonz\u00e1lez I\u00f1\u00e1rritu, and Alfonso Cuar\u00f3n<\/a>, Manchester University Press (2013)<\/em> and co-editor of The Transnational Fantasies of Guillermo del Toro<\/a>, Palgrave Macmillan, (2014)<\/em>, Latin American Women Filmmakers: Production, Politics, Poetics<\/a>, I.B.Tauris (2017), and<\/em> Sense8: Transcending Television<\/a> Bloomsbury Publishers (2021)<\/em><\/p>\n\n\n\n *Published in Spanish as 2018 \u2013 \u2018C\u00f3mo estudiar el cine de mujeres iberoamericanas: un manifiesto\u2019 in Scholz, Annette and \u00c1lvarez, Marta, <\/em>Cineastas emergentes. Madrid\/Frankfurt: Iberoamericana\/Verwuert<\/em>. <\/p>\n\n\n\n Finally, for this SLACextras takeover <\/em>takeover, Guy Wood’s excellent post<\/a> exploring the figure of the wild women in\u00a0Jos\u00e9 Luis\u00a0Borau\u2019s\u00a0Furtivos<\/a>\u00a0(1975) and\u00a0Luis Berenguer\u2019s\u00a0<\/em>El mundo de Juan Lob\u00f3n\u00a0(1967). It analyses\u00a0how, in film and novel, both Martinas connect with the age-old legacy of wild women, and like their predecessors, are as frightening as they are subversive. Guy H. Wood <\/a>is an emeritus Professor of Spanish at the State University of Oregon, author of two monographs (<\/em>La caza de Carlos Saura: Un estudio<\/a> and<\/em> Las armas de Luis Bu\u00f1ue<\/a>l), numerous articles on the works of contemporary Spanish novelists, playwrights, poets and filmmakers. He is also a co-founder of the Cine-Lit Project.<\/em><\/p>\n\n\n\n We have one more post in this excellent series – Forthcoming! Watch this space<\/p>\n\n\n\n Welcome to this SLACextras takeover of Medi\u00e1tico which, in the spirit of SLACextras, features additional material to accompany the print…<\/p>\n","protected":false},"author":18,"featured_media":3486,"comment_status":"open","ping_status":"open","sticky":true,"template":"","format":"standard","meta":{"jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":false,"jetpack_social_options":{"image_generator_settings":{"template":"highway","enabled":false},"version":2}},"categories":[2],"tags":[462,459,224,463,460],"class_list":["post-3503","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-film","tag-barbara-zecchi","tag-cine-lit","tag-deborah-martin","tag-latin-american-women-filmmakers","tag-slacextras"],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"https:\/\/reframe.sussex.ac.uk\/mediatico\/files\/2024\/07\/Zama.jpeg","jetpack_shortlink":"https:\/\/wp.me\/p49QSj-Uv","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/reframe.sussex.ac.uk\/mediatico\/wp-json\/wp\/v2\/posts\/3503","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/reframe.sussex.ac.uk\/mediatico\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/reframe.sussex.ac.uk\/mediatico\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/reframe.sussex.ac.uk\/mediatico\/wp-json\/wp\/v2\/users\/18"}],"replies":[{"embeddable":true,"href":"https:\/\/reframe.sussex.ac.uk\/mediatico\/wp-json\/wp\/v2\/comments?post=3503"}],"version-history":[{"count":14,"href":"https:\/\/reframe.sussex.ac.uk\/mediatico\/wp-json\/wp\/v2\/posts\/3503\/revisions"}],"predecessor-version":[{"id":3585,"href":"https:\/\/reframe.sussex.ac.uk\/mediatico\/wp-json\/wp\/v2\/posts\/3503\/revisions\/3585"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/reframe.sussex.ac.uk\/mediatico\/wp-json\/wp\/v2\/media\/3486"}],"wp:attachment":[{"href":"https:\/\/reframe.sussex.ac.uk\/mediatico\/wp-json\/wp\/v2\/media?parent=3503"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/reframe.sussex.ac.uk\/mediatico\/wp-json\/wp\/v2\/categories?post=3503"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/reframe.sussex.ac.uk\/mediatico\/wp-json\/wp\/v2\/tags?post=3503"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}\n
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