The cinephilic citation in the essay films by José Luis Guerin and Isaki Lacuesta
Bibliographic Data
| ID | 12670106 |
|---|---|
| Authors | Belén Vidal (0000-0002-5135-2255, King's College London, corresponding author) |
| Year | 2014 |
| Volume | 15 |
| Issue | 3 |
| Pages | 373-393 |
| Publication date | 2014-07-03 |
| Open Access | No |
| Type | ARTICLE |
| Venue | Journal of Spanish Cultural Studies (JOURNAL) |
| Journal identifiers | ISSN: 1463-6204 • E-ISSN: 1469-9818 |
| Publisher | Routledge (PUBLISHER • GB) |
| DOI | 10.1080/14636204.2014.972110 |
| OpenAlex | W2094453834 |
| Language | EN |
| Citations received | 3 |
| References cited | 14 |
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 2010). This work recovers and restages “cinephilic moments” through the evocation of particular films, film-makers and stars. By looking at the formal strategies in the above essay films – especially the play with the disappearance of their original referents – I contend that the cinephilic moment generates a richly generative framework to reflect on the medium itself and its potential for cultural appropriation in the context of a renewed experimental strand in Spanish film production
Aesthetics · Appropriation · Archaeology · Art · Art history · Context (archaeology · Epistemology · Evocation · Generative grammar · Historiography · Humanities · Linguistics · Literature · Object (grammar · Sociology · Cinema History and Criticism · Historical and Modern Theater Studies · History · Philosophy · Spanish Culture and Identity
| Citations per year | 0.43 |
|---|---|
| Citation span | 2019 - 2021 (3) |
| Highly cited | No |