Examining films from several genres by key directors of the Transition, Inhabiting the In-Between explores how the child is represented as both subject and object, self and other, and consistently cast in a position between categories or binary poles.
Examining films from several genres by key directors of the Transition, Inhabiting the In-Between explores how the child is represented as both subject and object, self and other, and consistently cast in a position between categories or binary poles.
Acknowledgements Note on Translation and Dates Introduction: Inhabiting the In-Between 1. Impossible Returns: The Child as Self and Other in Carlos Saura’s El jardín de las delicias (1970) and La prima Angélica (1974) 2. Innocent Creatures: Child as Commodity and Animal in Mercero’s La guerra de papá (1977) and Tobi, el niño con alas (1978) 3. Oscillating Encounters: Alignment and Foreclosure in Víctor Erice’s El espíritu de la colmena (1973) and El sur (1983) 4. Betwixt and Between: Liminal Adolescence in Jaime de Armiñán’s El amor del capitán Brando (1974) and El nido (1980) Coda Bibliography Notes
Acknowledgements Note on Translation and Dates Introduction: Inhabiting the In-Between 1. Impossible Returns: The Child as Self and Other in Carlos Saura’s El jardín de las delicias (1970) and La prima Angélica (1974) 2. Innocent Creatures: Child as Commodity and Animal in Mercero’s La guerra de papá (1977) and Tobi, el niño con alas (1978) 3. Oscillating Encounters: Alignment and Foreclosure in Víctor Erice’s El espíritu de la colmena (1973) and El sur (1983) 4. Betwixt and Between: Liminal Adolescence in Jaime de Armiñán’s El amor del capitán Brando (1974) and El nido (1980) Coda Bibliography Notes
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