Belén Vidal
Biographic Data
| ID | 3649265 |
|---|---|
| NAME | Belén Vidal |
| GIVEN NAMES | Belén |
| FAMILY NAME | Vidal |
| SIGNATURE | VIDAL B |
| AFFILIATIONS | King's College London |
| ORCID | 0000-0002-5135-2255 |
| VERIFIED | Yes |
| TOTAL WORKS | 9 |
| TOTAL CITATIONS | 3 |
| WORKS AS AUTHOR | 9 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 2007 |
| LATEST PUBLICATION YEAR | 2021 |
| H-INDEX | 1 |
New Women’s Biopics
This article revisits the debates about the postfeminist biopic in the 21st century through the films Wild Nights with Emily (Olnek, 2018), Florence Foster Jenkins (Frears, 2016), The Favourite (Lanthimos, 2018) and particularly Colette (Westmoreland, 2018) to examine the ways in which new women’s biopics queer women’s histories. The article examines the debates about representation concerning the female biopic (Bingham 2010, Polaschek 2013), esp…
A Somatic Poetics of Crisis Cinema
This article looks at three fiction films released between 2012 and 2014 that, while not directly addressing the recessionary context, figure the female body as the visual site of crisis. La herida, Stockholm, and especially Magical Girl construe a vocabulary of embodied gestures. One in particular recurs time and again: a woman wilfully wounding her body. In films otherwise fraught with narrative gaps and ambiguities, gashes and wounds stubbornl…
From Europe with Pride
This paper takes Pride (2014) as a focal point for a discussion of a popular European cinema that looks back on key moments in the twentieth-century political past(s) through the re-enactment of queer scenarios of activism and resistance. My contention is that, as significant as identity politics is the notion of movement itself. Pride ’s intersectional retro-politics injects queer moves into heritage cinema, literally including musical moments o…
Mapping digital practices in Hispanic cinemas. Introduction
Part of the Special Dossier: Mapping digital practices in Hispanic Cinemas
Cinephilic retreats and transient connections in Hispanic cinemas
In what follows I explore the ways in which cinephilia, an area of discussion that has flourished again with the digital turn,1 works as an idiom that is conscientiously performed by a mobile Hispanic cinema seeking to position itself in the relational networks of ‘World Cinema’ (a label that, like ‘Hispanic’, has undergone much scrutiny and deconstruction). Such networks – comprising private and public funders, film festivals, boutique distribut…
The Postfeminist Biopic. Narrating the Lives of Plath, Kahlo, Woolf and Austen
The publication of a volume entirely devoted to the woman's biopic through the lens of feminist theory, was, in many respects, overdue. Bronwyn Polaschek's The Postfeminist Biopic comes to fill thi
The cinephilic citation in the essay films by José Luis Guerin and Isaki Lacuesta
This paper investigates the contemporary turn to cinephilia as an object of theoretical analysis and historiographical investigation through the essay films by José Luis Guerin and Isaki Lacuesta. In particular, I focus on Innisfree (José Luis Guerin 1990), Tren de sombras (Train of Shadows, José Luis Guerin 1997), Las variaciones Marker (The Marker Variations, Isaki Lacuesta 2008) and La noche que no acaba (All the Night Long, Isaki Lacuesta 201…
A Companion to Spanish Cinema * Spanish Practices
In the last three to four years, publisher Wiley-Blackwell has commissioned and published a staggering number of lavishly produced ‘companions’ – major collections that provide a comprehensive introduction to key areas of study, including established national cinemas and canonical auteurs. The serial context that frames the publication of A Companion to Spanish Cinema should not detract from its status as a true event in the field of Spanish cine…
Feminist historiographies and the woman artist's biopic
This essay looks at the film Artemisia (Agnès Merlet, France/Italy, 1997) and at the critical controversy surrounding the film's depiction of protofeminist icon Artemisia Gentileschi. Artemisia constitutes a revealing example of the problems posed by the contemporary biopic about women artists. While deploying the conventions of the romance narrative (in particular in the relationships between the artist and model in the painterapos;s biopic), Ar…
Feminist historiographies and the woman artist's biopic
This essay looks at the film Artemisia (Agnès Merlet, France/Italy, 1997) and at the critical controversy surrounding the film's depiction of protofeminist icon Artemisia Gentileschi. Artemisia constitutes a revealing example of the problems posed by the contemporary biopic about women artists. While deploying the conventions of the romance narrative (in particular in the relationships between the artist and model in the painterapos;s biopic), Ar…
Feminist historiographies and the woman artist's biopic
This essay looks at the film Artemisia (Agnès Merlet, France/Italy, 1997) and at the critical controversy surrounding the film's depiction of protofeminist icon Artemisia Gentileschi. Artemisia constitutes a revealing example of the problems posed by the contemporary biopic about women artists. While deploying the conventions of the romance narrative (in particular in the relationships between the artist and model in the painterapos;s biopic), Ar…
The cinephilic citation in the essay films by José Luis Guerin and Isaki Lacuesta
This paper investigates the contemporary turn to cinephilia as an object of theoretical analysis and historiographical investigation through the essay films by José Luis Guerin and Isaki Lacuesta. In particular, I focus on Innisfree (José Luis Guerin 1990), Tren de sombras (Train of Shadows, José Luis Guerin 1997), Las variaciones Marker (The Marker Variations, Isaki Lacuesta 2008) and La noche que no acaba (All the Night Long, Isaki Lacuesta 201…
A Companion to Spanish Cinema * Spanish Practices
In the last three to four years, publisher Wiley-Blackwell has commissioned and published a staggering number of lavishly produced ‘companions’ – major collections that provide a comprehensive introduction to key areas of study, including established national cinemas and canonical auteurs. The serial context that frames the publication of A Companion to Spanish Cinema should not detract from its status as a true event in the field of Spanish cine…
The Postfeminist Biopic. Narrating the Lives of Plath, Kahlo, Woolf and Austen
The publication of a volume entirely devoted to the woman's biopic through the lens of feminist theory, was, in many respects, overdue. Bronwyn Polaschek's The Postfeminist Biopic comes to fill thi
Mapping digital practices in Hispanic cinemas. Introduction
Part of the Special Dossier: Mapping digital practices in Hispanic Cinemas
Cinephilic retreats and transient connections in Hispanic cinemas
In what follows I explore the ways in which cinephilia, an area of discussion that has flourished again with the digital turn,1 works as an idiom that is conscientiously performed by a mobile Hispanic cinema seeking to position itself in the relational networks of ‘World Cinema’ (a label that, like ‘Hispanic’, has undergone much scrutiny and deconstruction). Such networks – comprising private and public funders, film festivals, boutique distribut…
A Somatic Poetics of Crisis Cinema
This article looks at three fiction films released between 2012 and 2014 that, while not directly addressing the recessionary context, figure the female body as the visual site of crisis. La herida, Stockholm, and especially Magical Girl construe a vocabulary of embodied gestures. One in particular recurs time and again: a woman wilfully wounding her body. In films otherwise fraught with narrative gaps and ambiguities, gashes and wounds stubbornl…
From Europe with Pride
This paper takes Pride (2014) as a focal point for a discussion of a popular European cinema that looks back on key moments in the twentieth-century political past(s) through the re-enactment of queer scenarios of activism and resistance. My contention is that, as significant as identity politics is the notion of movement itself. Pride ’s intersectional retro-politics injects queer moves into heritage cinema, literally including musical moments o…
New Women’s Biopics
This article revisits the debates about the postfeminist biopic in the 21st century through the films Wild Nights with Emily (Olnek, 2018), Florence Foster Jenkins (Frears, 2016), The Favourite (Lanthimos, 2018) and particularly Colette (Westmoreland, 2018) to examine the ways in which new women’s biopics queer women’s histories. The article examines the debates about representation concerning the female biopic (Bingham 2010, Polaschek 2013), esp…
Art (9 works) · History (8 works) · Sociology (8 works) · Art history (6 works) · History (6 works) · Movie theater (6 works) · Aesthetics (5 works) · Cinema and Media Studies (5 works) · Law (5 works) · Literature (5 works)