Albert Elduque
Biographic Data
| ID | 5935808 |
|---|---|
| NAME | Albert Elduque |
| GIVEN NAMES | Albert |
| FAMILY NAME | Elduque |
| SIGNATURE | ELDUQUE A |
| AFFILIATIONS | Universitat Pompeu Fabra |
| ORCID | 0000-0002-5194-4525 |
| VERIFIED | Yes |
| TOTAL WORKS | 13 |
| TOTAL CITATIONS | 9 |
| WORKS AS AUTHOR | 13 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 2016 |
| LATEST PUBLICATION YEAR | 2025 |
| H-INDEX | 2 |
Welcome to Peaceful Spain
Criar nos Silêncios. Uma entrevista com Assumpta Serna
Nesta entrevista, Assumpta Serna reflete sobre a sua experiência como atriz na indústria cinematográfica espanhola, desde a sua estreia no final dos anos 70 até 1986, nos anos da transição democrática. Serna partilha as dificuldades de diálogo criativo com cineastas como Carlos Saura e Pedro Almodóvar, e como encontrou nos gestos e nas formas de expressão, através do close-up ou do olhar, o pensamento e o desejo feminino ativo das suas personagen…
Y a esto le llaman furia española?”. Cine y subculturas más allá del esperpento
Este artículo propone un estudio de Furia española (Francesc Betriu, 1975) superando la noción de esperpento y los tópicos sobre el lumpenproletariado en el cine español. Recuperando documentos de censura del AGA (Archivo General de la Administración) y revisando la versión completa del filme, se propone que este se puede entender como la aproximación a una subcultura propia para analizar cómo la cultura futbolística y mediática del tardofranquis…
Transnational dreamscapes
This article explores the connections between moving images and world fairs by focusing on a specific case: the Barcelona 1929 International Exposition . The event, a key moment in the city’s history, showcased cinema as a technological marvel, a vehicle for transnational influence and a tool for propaganda. After an introduction to the political and economic context of the exposition, our analysis covers four main areas: first, we document the r…
Fundações permanentes
Recensão do livro "Foundational Films: Early Cinema and Modernity in Brazil", de Maite Conde
Between film and photography
Founded within the context of the Brazilian military dictatorship, the film company Belair was one of the most radical attempts to cultivate a cinema in the spirit of Tropicalism: its works are distinguished by parodies of genre filmmaking, a carnivalesque celebration of the body, and a profound investment in subversive politics. Led by filmmakers Rogério Sganzerla and Júlio Bressane and actress Helena Ignez, Belair produced 6 films between Janua…
Communicating science
Science journalists are mainly responsible for publicly communicating science, which, in turn, is a major indicator of the social development of democratic societies. The transmission of quality scientific information that is rigorously researched and understandable is therefore crucial, and demand for this kind of information from both governments and citizens is growing. We analyzed the academic profiles of a representative sample of practicing…
Le regard et le poids. Iconographie de la classe ouvrière dans Chircales et Nouvelle terre
Cet article analyse le motif de la charge dans deux documentaires politiques : Tierra nueva (1933) de Joris Ivens et Chircales (1964- 1971) de Jorge Silva et Marta Rodríguez. En partant de deux photogrammes sur lesquelles les ouvriers chargent des matériaux de construction et regardent furtivement la caméra, nous analysons une certaine iconographie de la classe ouvrière à partir des notions d’inconscient optique de W. Benjamin et du punctum de R.…
La mirada y el peso. Iconografía de la clase obrera en Chircales y Tierra Nueva
El artículo analiza la figura de la carga en dos documentales políticos: Tierra nueva (1933), de Joris Ivens, y Chircales (1964-1971), de Jorge Silva y Marta Rodríguez. Partiendo de dos imágenes en las que los obreros cargan con el material de construcción y miran furtivamente a cámara, analizamos una cierta configuración iconográfica de la clase obrera a partir del inconsciente óptico de Benjamín y del punctum de Barthes.
Hungry gazes, digesting closeups
In his last interview, held on the occasion of the French release of his film Salò o le 120 giornate di Sodoma/Salò, or the 120 Days of Sodom (1975), Pier Paolo Pasolini was asked if cannibalism was political. He answered that cannibalism was a political fact that was real in certain contexts and metaphorical in others. In answer to the next question – whether cannibalism was the best way to free oneself of political enemies – he replied with two…
O touro fica. Anotações sobre O Testamento de Dom Quixote
'O Testamento de Dom Quixote', 'script' by Glauber Rocha, is supposed to be loosely inspired in the last chapter of Cervantes' novel, although it is absolutely different from it: in the film the character doesn't recover his lucidity, but he lives surrounded by mystical delirium. Already in its first pages, it is obvious that it is a first draft of 'Cutting Heads', the film he shot in Spain in 1970, in spite of being completely different from the…
Imagens que carregamos às costas
O artigo parte de uma análise da obra de Daniel Barroca Circular Body para abordar o congresso Liberation Struggles, The ‘Falling of the Empire’ and the Birth (through Images) of African Nations, que aconteceu em Reading e Londres o 27 e o 28 de janeiro. O texto foca-se no questionamento das imagens e no trabalho com o arquivo que foi apresentado nas distintas comunicações
Quantitative meta-analysis of visual motifs throughout film history
This paper assesses the importance of visual motifs as new research tools for film and media studies, by running a quantitative meta-study of two expert review databases: the British Film Institute best-movies 2012 poll and the Encyclopedia of visual motifs in cinema (a joint venture of up to sixty researchers and film critics). The former is used as an indicator of canonic values in film historiography, while the latter represents a new approach…
Communicating science
Science journalists are mainly responsible for publicly communicating science, which, in turn, is a major indicator of the social development of democratic societies. The transmission of quality scientific information that is rigorously researched and understandable is therefore crucial, and demand for this kind of information from both governments and citizens is growing. We analyzed the academic profiles of a representative sample of practicing…
Quantitative meta-analysis of visual motifs throughout film history
This paper assesses the importance of visual motifs as new research tools for film and media studies, by running a quantitative meta-study of two expert review databases: the British Film Institute best-movies 2012 poll and the Encyclopedia of visual motifs in cinema (a joint venture of up to sixty researchers and film critics). The former is used as an indicator of canonic values in film historiography, while the latter represents a new approach…
Transnational dreamscapes
This article explores the connections between moving images and world fairs by focusing on a specific case: the Barcelona 1929 International Exposition . The event, a key moment in the city’s history, showcased cinema as a technological marvel, a vehicle for transnational influence and a tool for propaganda. After an introduction to the political and economic context of the exposition, our analysis covers four main areas: first, we document the r…
O touro fica. Anotações sobre O Testamento de Dom Quixote
'O Testamento de Dom Quixote', 'script' by Glauber Rocha, is supposed to be loosely inspired in the last chapter of Cervantes' novel, although it is absolutely different from it: in the film the character doesn't recover his lucidity, but he lives surrounded by mystical delirium. Already in its first pages, it is obvious that it is a first draft of 'Cutting Heads', the film he shot in Spain in 1970, in spite of being completely different from the…
Imagens que carregamos às costas
O artigo parte de uma análise da obra de Daniel Barroca Circular Body para abordar o congresso Liberation Struggles, The ‘Falling of the Empire’ and the Birth (through Images) of African Nations, que aconteceu em Reading e Londres o 27 e o 28 de janeiro. O texto foca-se no questionamento das imagens e no trabalho com o arquivo que foi apresentado nas distintas comunicações
Quantitative meta-analysis of visual motifs throughout film history
This paper assesses the importance of visual motifs as new research tools for film and media studies, by running a quantitative meta-study of two expert review databases: the British Film Institute best-movies 2012 poll and the Encyclopedia of visual motifs in cinema (a joint venture of up to sixty researchers and film critics). The former is used as an indicator of canonic values in film historiography, while the latter represents a new approach…
Le regard et le poids. Iconographie de la classe ouvrière dans Chircales et Nouvelle terre
Cet article analyse le motif de la charge dans deux documentaires politiques : Tierra nueva (1933) de Joris Ivens et Chircales (1964- 1971) de Jorge Silva et Marta Rodríguez. En partant de deux photogrammes sur lesquelles les ouvriers chargent des matériaux de construction et regardent furtivement la caméra, nous analysons une certaine iconographie de la classe ouvrière à partir des notions d’inconscient optique de W. Benjamin et du punctum de R.…
La mirada y el peso. Iconografía de la clase obrera en Chircales y Tierra Nueva
El artículo analiza la figura de la carga en dos documentales políticos: Tierra nueva (1933), de Joris Ivens, y Chircales (1964-1971), de Jorge Silva y Marta Rodríguez. Partiendo de dos imágenes en las que los obreros cargan con el material de construcción y miran furtivamente a cámara, analizamos una cierta configuración iconográfica de la clase obrera a partir del inconsciente óptico de Benjamín y del punctum de Barthes.
Hungry gazes, digesting closeups
In his last interview, held on the occasion of the French release of his film Salò o le 120 giornate di Sodoma/Salò, or the 120 Days of Sodom (1975), Pier Paolo Pasolini was asked if cannibalism was political. He answered that cannibalism was a political fact that was real in certain contexts and metaphorical in others. In answer to the next question – whether cannibalism was the best way to free oneself of political enemies – he replied with two…
Communicating science
Science journalists are mainly responsible for publicly communicating science, which, in turn, is a major indicator of the social development of democratic societies. The transmission of quality scientific information that is rigorously researched and understandable is therefore crucial, and demand for this kind of information from both governments and citizens is growing. We analyzed the academic profiles of a representative sample of practicing…
Fundações permanentes
Recensão do livro "Foundational Films: Early Cinema and Modernity in Brazil", de Maite Conde
Between film and photography
Founded within the context of the Brazilian military dictatorship, the film company Belair was one of the most radical attempts to cultivate a cinema in the spirit of Tropicalism: its works are distinguished by parodies of genre filmmaking, a carnivalesque celebration of the body, and a profound investment in subversive politics. Led by filmmakers Rogério Sganzerla and Júlio Bressane and actress Helena Ignez, Belair produced 6 films between Janua…
Transnational dreamscapes
This article explores the connections between moving images and world fairs by focusing on a specific case: the Barcelona 1929 International Exposition . The event, a key moment in the city’s history, showcased cinema as a technological marvel, a vehicle for transnational influence and a tool for propaganda. After an introduction to the political and economic context of the exposition, our analysis covers four main areas: first, we document the r…
Y a esto le llaman furia española?”. Cine y subculturas más allá del esperpento
Este artículo propone un estudio de Furia española (Francesc Betriu, 1975) superando la noción de esperpento y los tópicos sobre el lumpenproletariado en el cine español. Recuperando documentos de censura del AGA (Archivo General de la Administración) y revisando la versión completa del filme, se propone que este se puede entender como la aproximación a una subcultura propia para analizar cómo la cultura futbolística y mediática del tardofranquis…
Welcome to Peaceful Spain
Criar nos Silêncios. Uma entrevista com Assumpta Serna
Nesta entrevista, Assumpta Serna reflete sobre a sua experiência como atriz na indústria cinematográfica espanhola, desde a sua estreia no final dos anos 70 até 1986, nos anos da transição democrática. Serna partilha as dificuldades de diálogo criativo com cineastas como Carlos Saura e Pedro Almodóvar, e como encontrou nos gestos e nas formas de expressão, através do close-up ou do olhar, o pensamento e o desejo feminino ativo das suas personagen…
Art (8 works) · Humanities (5 works) · Art history (4 works) · Cinema History and Criticism (4 works) · Law (4 works) · Law (4 works) · Politics (4 works) · Cinema and Media Studies (3 works) · History (3 works) · History (3 works)