Lourdes Monterrubio Ibáñez
Biographic Data
| ID | 148901 |
|---|---|
| NAME | Lourdes Monterrubio Ibáñez |
| GIVEN NAMES | Lourdes Monterrubio |
| FAMILY NAME | Ibáñez |
| SIGNATURE | IBÁÑEZ L M |
| AFFILIATIONS | Universidad Complutense de Madrid |
| ORCID | 0000-0003-0566-3666 |
| VERIFIED | Yes |
| TOTAL WORKS | 12 |
| TOTAL CITATIONS | 0 |
| WORKS AS AUTHOR | 12 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 1970 |
| LATEST PUBLICATION YEAR | 2026 |
| H-INDEX | 0 |
Problematizing the visualization of migration images to reflect on migrants' dehumanization
Given the phenomenon of (hyper)visibility/invisibility of migrant realities in globalization since the refugee crisis in 2015, which contributes to the dehumanization of migrant people, this article proposes a comparative analysis of three works that are generated from the same premise: the problematization of their visualization using waste images, in which migrant people are not recognizably depicted on screen, to successfully reflect on differ…
Women’s Essay Films in Francophone Europe. Exploring the Female Audiovisual Thinking Process
This article aims to analyse women’s essay films in Francophone Europe, exploring the presence of a gendered audiovisual thinking process and considering both the formal aspect and the thematic dimension. The research allows the characterisation of a female audiovisual thinking process determined by both self-representation and the vindication of women filmmakers as creators of images and women’s topics through the reflection on female alterities…
Zapping Zone and Level Five. Between the visitor’s experience of the video installation and the filmmaker’s reflection of the essay film
The displacement from the essay film to the video installation has in Chris Marker one of its first and most relevant figures. The comparative study of Zapping Zone. Proposal for an imaginary television (1990) and Level Five (1997) allows for the analysis of the construction and complexification, and the deconstruction and saturation processes that take place between the most complex expression of the Markerian essay film and its transformation i…
Roland Barthes, lo fílmico versus el cine. El sentido suspendido como definición de la modernidad cinematográfica
El presente artículo pretende analizar los textos de Roland Barthes sobre la práctica cinematográfica. Su resistencia al cine, vinculada a su escritura autobiográfica, se revela como la imposibilidad de fetichizar la imagen en movimiento, que debe entonces ser reducida a lo fotográfico, definiendo así un sentido obtuso que opone lo fílmico al cine. Sin embargo, a través de la concepción del sentido suspendido, Barthes detectó el surgimiento de un…
The filmmaker’s presence in French contemporary autofiction
Autofiction as realized in cinematic practice adds a figure of identification to the literary author-narrator-character: that of actor/actress. The filmmaker, playing him/herself, employs innovative strategies in audiovisual narration to generate this autofictional identity. This article analyses these strategies as seen in French cinema, on which literary autofiction has a determining influence. My analysis of this practice is mapped along a dou…
Women’s epistolary cinema
International audience
"Penny Dreadful" (2014-2016). Postmodern mythology and ontology of otherness
The television series Penny Dreadful (2014-2016) is an appropriation, intertextuality and transfiction exercise of four modern myths from nineteenth-century literature –Frankenstein (Mary Shelley, 1818), The Strange Case of Dr Jekyll and Mr Hyde (Robert Louis Stevenson, 1886), The Picture of Dorian Gray (Oscar Wilde, 1891) and Dracula (Bram Stoker, 1897)– to which the mythological figure of the lycanthrope is added. This myth syncretism is comple…
"Penny Dreadful" (2014-2016). Postmodern mythology and ontology of otherness
The television series Penny Dreadful (2014-2016) is an appropriation, intertextuality and transfiction exercise of four modern myths from nineteenth-century literature – Frankenstein (Mary Shelley, 1818), The Strange Case of Dr Jekyll and Mr Hyde (Robert Louis Stevenson, 1886), The Picture of Dorian Gray (Oscar Wilde, 1891) and Dracula (Bram Stoker, 1897)– to which the mythological figure of the lycanthrope is added. This myth syncretism is compl…
Correspond ê ncias by Rita Azevedo Gomes. The complex hybrid image of contemporary epistolary cinema and contemporary essay film
Rita Azevedo Gomes’ Correspondências (2016) draws on the epistolary correspondence between Sophia de Mello Breyner Andresen and Jorge de Sena, as well as their respective poetic works, to build an epistolary-poetic, audio-visual and sensory-emotional kaleidoscope based on their reading, recitation and representation in different languages. In this way, the filmmaker generates a kind of phenomenology of reception that uses all the audiovisual poss…
Los "filmeurs" Joseph Morder y Alain Cavalier. Gesto fílmico de despojamiento y epistemología de la no manipulación
El presente artículo pretende analizar la práctica cinematográfica del filmeur a través de dos de sus máximos representantes en el espacio francés: Joseph Morder y Alan Cavalier. Se trata, por tanto, de determinar los planteamientos epistemológicos y las características estéticas de esta experiencia fílmica desarrollada en soledad, en la que la filmación se convierte en un “acto corporal y estético” caracterizado por la subjetividad, la intimidad…
Agatha and the Limitless Readings by Marguerite Duras. The literary text and its filmic (irre)presentation
The present article analyses the film Agatha and the Limitless Readings (1981) by Marguerite Duras as the final experience, together with The Atlantic Man (1981), of the so-called Durasian literary-cinematic coalescence, which began a decade earlier with Woman of the Ganges (1974). The fusion of both practices, born from the need to turn the literary text into voice refusing its mise-en-scene, generates a new filmic practice which is one of the h…
"Agatha et les lectures illimitées" de Marguerite Duras. El texto literario y su (irre)presentación fílmica
El presente artículo analiza la obra Agatha et les lectures illimitées (1981) de Marguerite Duras como experiencia final, junto a L’homme atlantique (1981), de la denominada coalescencia literario-cinematográfica durasiana, iniciada una década antes con La femme du Gange (1974). La fusión de ambas disciplinas, nacida de la necesidad de hacer voz el texto literario renunciando a su puesta en escena, genera una nueva práctica fílmica que supone una…
No prominent works on this page.
"Agatha et les lectures illimitées" de Marguerite Duras. El texto literario y su (irre)presentación fílmica
El presente artículo analiza la obra Agatha et les lectures illimitées (1981) de Marguerite Duras como experiencia final, junto a L’homme atlantique (1981), de la denominada coalescencia literario-cinematográfica durasiana, iniciada una década antes con La femme du Gange (1974). La fusión de ambas disciplinas, nacida de la necesidad de hacer voz el texto literario renunciando a su puesta en escena, genera una nueva práctica fílmica que supone una…
Agatha and the Limitless Readings by Marguerite Duras. The literary text and its filmic (irre)presentation
The present article analyses the film Agatha and the Limitless Readings (1981) by Marguerite Duras as the final experience, together with The Atlantic Man (1981), of the so-called Durasian literary-cinematic coalescence, which began a decade earlier with Woman of the Ganges (1974). The fusion of both practices, born from the need to turn the literary text into voice refusing its mise-en-scene, generates a new filmic practice which is one of the h…
Los "filmeurs" Joseph Morder y Alain Cavalier. Gesto fílmico de despojamiento y epistemología de la no manipulación
El presente artículo pretende analizar la práctica cinematográfica del filmeur a través de dos de sus máximos representantes en el espacio francés: Joseph Morder y Alan Cavalier. Se trata, por tanto, de determinar los planteamientos epistemológicos y las características estéticas de esta experiencia fílmica desarrollada en soledad, en la que la filmación se convierte en un “acto corporal y estético” caracterizado por la subjetividad, la intimidad…
"Penny Dreadful" (2014-2016). Postmodern mythology and ontology of otherness
The television series Penny Dreadful (2014-2016) is an appropriation, intertextuality and transfiction exercise of four modern myths from nineteenth-century literature –Frankenstein (Mary Shelley, 1818), The Strange Case of Dr Jekyll and Mr Hyde (Robert Louis Stevenson, 1886), The Picture of Dorian Gray (Oscar Wilde, 1891) and Dracula (Bram Stoker, 1897)– to which the mythological figure of the lycanthrope is added. This myth syncretism is comple…
"Penny Dreadful" (2014-2016). Postmodern mythology and ontology of otherness
The television series Penny Dreadful (2014-2016) is an appropriation, intertextuality and transfiction exercise of four modern myths from nineteenth-century literature – Frankenstein (Mary Shelley, 1818), The Strange Case of Dr Jekyll and Mr Hyde (Robert Louis Stevenson, 1886), The Picture of Dorian Gray (Oscar Wilde, 1891) and Dracula (Bram Stoker, 1897)– to which the mythological figure of the lycanthrope is added. This myth syncretism is compl…
Correspond ê ncias by Rita Azevedo Gomes. The complex hybrid image of contemporary epistolary cinema and contemporary essay film
Rita Azevedo Gomes’ Correspondências (2016) draws on the epistolary correspondence between Sophia de Mello Breyner Andresen and Jorge de Sena, as well as their respective poetic works, to build an epistolary-poetic, audio-visual and sensory-emotional kaleidoscope based on their reading, recitation and representation in different languages. In this way, the filmmaker generates a kind of phenomenology of reception that uses all the audiovisual poss…
Roland Barthes, lo fílmico versus el cine. El sentido suspendido como definición de la modernidad cinematográfica
El presente artículo pretende analizar los textos de Roland Barthes sobre la práctica cinematográfica. Su resistencia al cine, vinculada a su escritura autobiográfica, se revela como la imposibilidad de fetichizar la imagen en movimiento, que debe entonces ser reducida a lo fotográfico, definiendo así un sentido obtuso que opone lo fílmico al cine. Sin embargo, a través de la concepción del sentido suspendido, Barthes detectó el surgimiento de un…
The filmmaker’s presence in French contemporary autofiction
Autofiction as realized in cinematic practice adds a figure of identification to the literary author-narrator-character: that of actor/actress. The filmmaker, playing him/herself, employs innovative strategies in audiovisual narration to generate this autofictional identity. This article analyses these strategies as seen in French cinema, on which literary autofiction has a determining influence. My analysis of this practice is mapped along a dou…
Women’s epistolary cinema
International audience
Zapping Zone and Level Five. Between the visitor’s experience of the video installation and the filmmaker’s reflection of the essay film
The displacement from the essay film to the video installation has in Chris Marker one of its first and most relevant figures. The comparative study of Zapping Zone. Proposal for an imaginary television (1990) and Level Five (1997) allows for the analysis of the construction and complexification, and the deconstruction and saturation processes that take place between the most complex expression of the Markerian essay film and its transformation i…
Women’s Essay Films in Francophone Europe. Exploring the Female Audiovisual Thinking Process
This article aims to analyse women’s essay films in Francophone Europe, exploring the presence of a gendered audiovisual thinking process and considering both the formal aspect and the thematic dimension. The research allows the characterisation of a female audiovisual thinking process determined by both self-representation and the vindication of women filmmakers as creators of images and women’s topics through the reflection on female alterities…
Problematizing the visualization of migration images to reflect on migrants' dehumanization
Given the phenomenon of (hyper)visibility/invisibility of migrant realities in globalization since the refugee crisis in 2015, which contributes to the dehumanization of migrant people, this article proposes a comparative analysis of three works that are generated from the same premise: the problematization of their visualization using waste images, in which migrant people are not recognizably depicted on screen, to successfully reflect on differ…
Art (12 works) · Literature (7 works) · Sociology (7 works) · Aesthetics (5 works) · Humanities (4 works) · Movie theater (4 works) · Cinema and Media Studies (3 works) · Computer Science (3 works) · Film director (3 works) · French Literature and Critical Theory (3 works)