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Copyright of Revista Fotocinema is the property of Revista Fotocinema and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Clint Eastwood's American Sniper (2014) and Alba Sotorra's Game Over (2015) explore the inculcating pull of pop myths on soldiers. Eastwood's biopic focuses on Chris Kyle, American military history's most lethal sniper. Sotorra's documentary Game Over considers Djalal, an Iranian Catalan youth who moves from being an America-idolizing gamer to a sniper in Afghanistan. Initially, they see themselves as Western cowboys and perfect soldiers. War, however, leaves them disillusioned and traumatized. Via distinct generic formats (documentary v. feature film) and nationally determined political frameworks (US v. Spain), they ask: can mythologies fueling the post-9/11 war machine empty it of its force? Mobilizing postcolonial, disability, and trauma studies, this comparative analysis theorizes how objects of soft power can both harden a soldier's mind and liberate it from the battlefield's thrall. Ultimately, the article reveals contrasting, potentially limited strategies subjects across cultures deploy to break the hold of American visions of power. [ABSTRACT FROM AUTHOR]

Assessing women's role in the audiovisual industry provides us with negative data regarding the number of women in the industry, which are also confirmed when factors such as their prominence or leadership in these audiovisual projects are considered. A quantitative and qualitative analysis was thus undertaken based on the need to examine this problem in depth to determine what is happening in the documentary or nonfiction genre, which has exhibited significant growth thanks to the demand for content from subscription video-on-demand (SVoD) streaming platforms. This research analyzes data on the number, prominence, and leadership of women through a review of the 35 Spanish productions in this genre that were produced and/or distributed exclusively on the three leading platforms in Spain between 2016 and 2021. Accordingly, the 2,099 jobs created by these productions have been evaluated, providing data on the occupations and level of responsibility that women had. The research findings confirm the overall data. In addition, they allow us to determine why, although the documentary genre has been associated with greater opportunities for women, this has not held true within the streaming market, where this genre has achieved a greater impact. This underrepresentation of women is especially prominent in the area of leadership. [ABSTRACT FROM AUTHOR]

Copyright of Arte, Individuo y Sociedad is the property of Universidad Complutense de Madrid and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Estudios sobre el Mensaje Periodistico is the property of Universidad Complutense de Madrid and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Ámbitos: Revista de Estudios de Ciencias Sociales y Humanidades is the property of Asociacion de Estudios de Ciencias Sociales y Humanidades and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article argues that El tren de la memoria, through its emphasis on female witnesses, confronts and "works through" personal and collective memories of Spanish economic migration to West Germany during the Franco regime. El tren de la memoria functions as a mode of witnessing, and mediates between subjective and collective experiences of the migration. The documentary invites us to re-assess the cinematic archive and to rethink the historical past, so we can foreground the political ontology of the documentary image in terms of its historiographical function. I depart from an exclusive sociological focus in order to explore how the migratory is articulated in, and transmitted through, the documentary form. In addition, I ask whether El tren de la memoria enables us to reflect on whether elements of past totalitarian violence could still seep into the sovereign power of capitalist democracies. While El tren de la memoria may seem to be essentially an historical documentary, this article argues that it is far more; it demands a rethinking of migrant subjectivity, which reveals an irreducible alterity always already constitutive of the self. Thus the documentary does not simply reflect reality, but contributes to the imagination or transformation of reality and its structures of discrimination and exclusion of migrants. El tren de la memoria encourages us to imagine a community based on singularities, which share a world inhabited by plurality, a community in which our relation to alterity is based on our common finitude. [ABSTRACT FROM AUTHOR]

This article assesses the intimate shift that documentary film has experienced in the last decades in Spain. The aim is to identify the aesthetic and narrative strategies that characterize the first-person documentary, as well as its implementation difficulties in Spain due to the socio-historical value associated with the genre. As a case study, the film Mapa (Siminiani, 2012) is analyzed as a practice where the cinematographic and the life of the author are inextricably linked. This is intended to shed light on the generic ambiguity of the film, between the road movie, the filmed diary and auto-fiction. [ABSTRACT FROM AUTHOR]

The documentary Después de? (Cecilia Bartolomé y José J. Bartolomé, 1981), a movie filmed during the Spanish Transition to democracy who was strongly critical with his present, has undergone changes in the perception of its message since its release to the present. This paper makes a review about its different meanings and explains what it means to our present. [ABSTRACT FROM AUTHOR]

This article works with the atypical film Aro Tolbukhin: Dins la Ment de l'assassí (2002) directed by Agustí Villaronga, Lydia Zimmermann and Isaac P. Racine. In light of an event presented as historical, and constructed according to the codes of the documentary genre conventions, this analysis addresses the complex articulation among different fictional layers. Enunciated from diverse superimposed perspectives from non-chronological uses that manifest a new narrative mode within the outlook of Spanish cinema, these fictional levels entangle with each other based on a lens where the idyllic combines with the atrocious. [ABSTRACT FROM AUTHOR]

This article analyses the episode entitled 'The Divided Spain', part of the documentary series The Exile, a joint production with the Pablo Iglesias Foundation broadcast by Spanish Public Television (TVE) in 2002. We examine strategies of evocation, focusing in particular on the simplified and didactic representation this establishes on historic time, the geography of memory and its symbolic value, the status given to testimony, and the aims pursued by the recreation of traumatic memory. Finally, the documentary is related to considerations on the politics of the (re)construction of Spanish historical memory during the first decade of the twenty-first century. [ABSTRACT FROM AUTHOR]

Copyright of Historia Contemporanea is the property of Historia Contemporania and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This paper examines how Ariadna Pujol's prize-winning documentary, Aguaviva (2006), creatively addresses the complexities of contemporary invited migration from Argentina into rural Spain in the context of tightened migration policies. The film thus places Latin American immigration into a context different from the US focus on undocumented movement from south of the US-Mexico border that is based on considering Latin American migrants as racially different from the majority US nation. Aguaviva documents a repopulation project that invited carefully preselected migrant families from Argentina to the small Spanish town of Aguaviva based on the notion of a shared ethnic affinity between Spaniards and Latin Americans as symbolized in the notion of Hispanidad. Through its use of traditional documentary formats, the film explores the ensuing conflicts between the townspeople and the newcomers, especially their diverging ideas about national identities, assimilation, and spatial imageries, in order to question the efficacy of an ethnically-based local immigration policy such as the one undergirding Aguaviva's repopulation project and its relationship to the larger context of tightened Spanish and European immigration. [ABSTRACT FROM AUTHOR]

The main purpose of this article is to introduce an alternative way of discussing documentaries in terms of two recent works by Helena Taberna and by Ana Torres, portraying migrant subjects in Madrid and Barcelona. Both documentaries offer innovative ways of projecting a vision of migrant experiences in urban settings. Departing from Gayatri Spivack's question, 'can the subaltern speak?', I formulate a new position for migrant subjects from both documentaries. Both films offer a rejection of legal practices promoting exclusion by European governments. A new multicultural identity emerges based on interaction and the strong determination of the film-makers to project a reflection on immigration which stands out against current derogatory images associated with prostitution and delinquency in contemporary cinematography. [ABSTRACT FROM AUTHOR]

The NO-DO, a weekly projection of the Franco regime, created as a diffusion service of obligatory exhibition in Spanish cinemas, constitutes the greatest audiovisual historical background for the contemporary history of Spain in the 20th century. The analysis and study of these newsreels and documentaries illustrate parallel to the political and socioeconomic evolution of that time, how the process of food and nutritional transition took place. The main objective of this work was to analyse and reflect on the image that these newsreels and documentaries offered to the Spanish population on the field of nutrition and the development of the different tendencies in the diet of this period. In order to carry out this study, an extensive list of descriptors specific to the discipline of nutrition and food was drawn up so that it could serve as a tool for searching for references collected both in newsreels and in documentaries, through the web search engine of the NO-DO on-line archive that is included in the Spanish Film Library's collection. Once the search was carried out and the exclusion criteria were applied, according to the subject of the study, there were analysed a total of 169 newsreels and 5 documentaries. The analysis of the results obtained allowed a general review of this era through the process of nutritional transition that the country experienced in these decades (1943-1981).