Marvin D’lugo
Biographic Data
| ID | 812878 |
|---|---|
| NAME | Marvin D’lugo |
| GIVEN NAMES | Marvin |
| FAMILY NAME | D’lugo |
| SIGNATURE | D’LUGO M |
| AFFILIATIONS | Clark University |
| VERIFIED | No |
| TOTAL WORKS | 11 |
| TOTAL CITATIONS | 6 |
| AUTHOR COUNT | 11 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 1983 |
| LATEST PUBLICATION YEAR | 2021 |
| H-INDEX | 1 |
The Films of Carlos Saura
Nilo Couret, Mock Classicism
With its striking cover image of famed Argentine comic Luis Sandrini, Nilo Couret’s Mock Classicism: Latin American Film Comedy 1930–1960 may appear simply to be a new addition, albeit it a theoretically sophisticated one, to the existing literature on Latin American stardom. But such surface impressions belie Couret’s more substantive project of mobilizing the star discourses surrounding Sandrini, his fellow Argentine comic Niní Marshall, and Me…
Response
The series of technological advances clustered under the label “the digital age” (internet, streaming platforms, etc.) suggest a paradigm shift in our conception of Latin American cinema, arguably even greater than that experienced by the advent of sound. Informing discussions of the digital turn in the region is the idea of a spatial imaginary, aligned to some degree with the concept of the geographical imagination that evokes the literalness of…
Los amantes pasajeros
Los amantes pasajeros (2013) comes at a difficult moment in Almodóvar's career, when his cinema appears disengaged from his local Spanish audience and when critics and viewers abroad have responded tepidly to his more recent films. In an effort to repair these audience links, the film mobilizes a dense textual layering and allusions that incorporate into a contemporary comedy Spanish nostalgic tropes from Almodóvar's past, almost as if the author…
Fernando Trueba
Fernando Trueba's Latin Jazz films Calle 54 (2000) and Chico y Rita (2010) mark a significant point of convergence between music and film in which narrowly defined conceptions of Spanish national cinema are refigured in terms of a broader notion of identity politics shaped by the borderless cultural circulation of popular music. Trueba's approach mirrors Homi Bhabha's conception of the refiguration of the modern national community beyond conventi…
Almodóvar, El Deseo and the Co-Production of Latin-American Space
Pedro Almodóvar’s films of the last decade and a half, in combination with the series of six co-productions sponsored by his production company, El Deseo S. A., during the same period, exemplify what Néstor García Canclini describes as the co-production of a transnational Hispanic identity (1995: 130). The objective of this essay is to explore the cultural politics that informs this particular version of transnational filmmaking, first by probing…
El extraño viaje alrededor del cine de Almodóvar
(2004). El extrano viaje alrededor del cine de Almodovar. Journal of Spanish Cultural Studies: Vol. 5, No. 3, pp. 287-300
The Films of Carlos Saura
The time of the nation
Homi K. Bhabha, ed., Nation and Narration. London and New York: Routledge, 1990. 333 pages
The Films of Carlos Saura. The Practice of Seeing
Spanish filmmaker Carlos Saura, who began his career under the censorship of Franco's regime, has forged an international reputation for his unique cinematic treatment of emotional and spiritual responses to repressive political conditions. In films such as Carmen and El Dorado, where reality and fantasy are deliberately fused together, Saura reveals the illusions of Franco's mythologized Spain--a chaste, Catholic, and heroic Spain of the Golden …
Carlos Saura
(1983). Carlos Saura: Constructive imagination in post‐Franco cinema. Quarterly Review of Film Studies: Vol. 8, The New Spanish Cinema, pp. 35-47
The time of the nation
Homi K. Bhabha, ed., Nation and Narration. London and New York: Routledge, 1990. 333 pages
Fernando Trueba
Fernando Trueba's Latin Jazz films Calle 54 (2000) and Chico y Rita (2010) mark a significant point of convergence between music and film in which narrowly defined conceptions of Spanish national cinema are refigured in terms of a broader notion of identity politics shaped by the borderless cultural circulation of popular music. Trueba's approach mirrors Homi Bhabha's conception of the refiguration of the modern national community beyond conventi…
Carlos Saura
(1983). Carlos Saura: Constructive imagination in post‐Franco cinema. Quarterly Review of Film Studies: Vol. 8, The New Spanish Cinema, pp. 35-47
The Films of Carlos Saura. The Practice of Seeing
Spanish filmmaker Carlos Saura, who began his career under the censorship of Franco's regime, has forged an international reputation for his unique cinematic treatment of emotional and spiritual responses to repressive political conditions. In films such as Carmen and El Dorado, where reality and fantasy are deliberately fused together, Saura reveals the illusions of Franco's mythologized Spain--a chaste, Catholic, and heroic Spain of the Golden …
The Films of Carlos Saura
The time of the nation
Homi K. Bhabha, ed., Nation and Narration. London and New York: Routledge, 1990. 333 pages
El extraño viaje alrededor del cine de Almodóvar
(2004). El extrano viaje alrededor del cine de Almodovar. Journal of Spanish Cultural Studies: Vol. 5, No. 3, pp. 287-300
Almodóvar, El Deseo and the Co-Production of Latin-American Space
Pedro Almodóvar’s films of the last decade and a half, in combination with the series of six co-productions sponsored by his production company, El Deseo S. A., during the same period, exemplify what Néstor García Canclini describes as the co-production of a transnational Hispanic identity (1995: 130). The objective of this essay is to explore the cultural politics that informs this particular version of transnational filmmaking, first by probing…
Fernando Trueba
Fernando Trueba's Latin Jazz films Calle 54 (2000) and Chico y Rita (2010) mark a significant point of convergence between music and film in which narrowly defined conceptions of Spanish national cinema are refigured in terms of a broader notion of identity politics shaped by the borderless cultural circulation of popular music. Trueba's approach mirrors Homi Bhabha's conception of the refiguration of the modern national community beyond conventi…
Los amantes pasajeros
Los amantes pasajeros (2013) comes at a difficult moment in Almodóvar's career, when his cinema appears disengaged from his local Spanish audience and when critics and viewers abroad have responded tepidly to his more recent films. In an effort to repair these audience links, the film mobilizes a dense textual layering and allusions that incorporate into a contemporary comedy Spanish nostalgic tropes from Almodóvar's past, almost as if the author…
Response
The series of technological advances clustered under the label “the digital age” (internet, streaming platforms, etc.) suggest a paradigm shift in our conception of Latin American cinema, arguably even greater than that experienced by the advent of sound. Informing discussions of the digital turn in the region is the idea of a spatial imaginary, aligned to some degree with the concept of the geographical imagination that evokes the literalness of…
Nilo Couret, Mock Classicism
With its striking cover image of famed Argentine comic Luis Sandrini, Nilo Couret’s Mock Classicism: Latin American Film Comedy 1930–1960 may appear simply to be a new addition, albeit it a theoretically sophisticated one, to the existing literature on Latin American stardom. But such surface impressions belie Couret’s more substantive project of mobilizing the star discourses surrounding Sandrini, his fellow Argentine comic Niní Marshall, and Me…
The Films of Carlos Saura
Art (11 works) · Movie theater (6 works) · Spanish Culture and Identity (6 works) · Aesthetics (5 works) · Cinema History and Criticism (5 works) · Art history (4 works) · Literature (4 works) · Media, Journalism, and Communication History (4 works) · Sociology (4 works) · Cinema and Media Studies (3 works)