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.Hinweis: Dieser Artikel kann nur an eine deutsche Lieferadresse ausgeliefert werden.
Sarah Thomas is Assistant Professor of Hispanic Studies and the William A. Dyer, Jr. Assistant Professor of the Humanities at Brown University.
Inhaltsangabe
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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