Noelia Saenz - Academia.edu (original) (raw)
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This presentation is part of a dissertation chapter that explores how representations of gendered... more This presentation is part of a dissertation chapter that explores how representations of gendered violence in contemporary Spanish cinema are indicative of a larger shift towards viewing gendered violence as a human rights issue. In recent years, mainstream Spanish films, such as Te doy mis ojos (dir. Iciar Bollain, 2003), Solo mia (dir. Javier Balaquer, 2001), and Piedras (dir. Ramon Salazar, 2002), focus on the issue of domestic violence, referred to in Spain as terrorismo familiar, familiar terrorism, which emphasizes how domestic abuse is more than just a violent act, but a violent act whose goal is to intimidate its victim along ideological lines. While these films focus mainly on domestic violence within Spain, this shift towards thinking about gendered violence as a human rights violation is indicative of a larger attempt to promote gender equality within the Spanish and Latin American contexts and illustrates a decisive move away from North American and Northern European fem...
SPRING 2009 BORDERLESS CITY results in constant mutations of the psychic and transnational spaces... more SPRING 2009 BORDERLESS CITY results in constant mutations of the psychic and transnational spaces within the film. These constant mutations, ultimately, contest any notion of place within the film under discussion.
Ucla Center For the Study of Women, Feb 1, 2009
D'Lugo/A Companion to Pedro Almodóvar, 2013
This chapter explores in detail the dynamics of the significant shift in the portrayal of gendere... more This chapter explores in detail the dynamics of the significant shift in the portrayal of gendered violence in Almodóvar's films. While most scholars tend to split along two contrasting lines of argument surrounding the issue of violent representation in these films, as either negative and misogynist or as a tool for understanding desire and sexual pleasure, this chapter revisits Smith's call to understand and situate Almodóvar's films within the Spanish cultural context. Re-reading his cinema in the light of the mobilization of anti-gender violence activism within Spain since the late 1990s, which is concerned with eradicating the larger social patterns of domestic and sexual abuse, it calls for a re-grounding of representations of gendered violence in Almodóvar's canon.
This presentation is part of a dissertation chapter that explores how representations of gendered... more This presentation is part of a dissertation chapter that explores how representations of gendered violence in contemporary Spanish cinema are indicative of a larger shift towards viewing gendered violence as a human rights issue. In recent years, mainstream Spanish films, such as Te doy mis ojos (dir. Iciar Bollain, 2003), Solo mia (dir. Javier Balaquer, 2001), and Piedras (dir. Ramon Salazar, 2002), focus on the issue of domestic violence, referred to in Spain as terrorismo familiar, familiar terrorism, which emphasizes how domestic abuse is more than just a violent act, but a violent act whose goal is to intimidate its victim along ideological lines. While these films focus mainly on domestic violence within Spain, this shift towards thinking about gendered violence as a human rights violation is indicative of a larger attempt to promote gender equality within the Spanish and Latin American contexts and illustrates a decisive move away from North American and Northern European fem...
SPRING 2009 BORDERLESS CITY results in constant mutations of the psychic and transnational spaces... more SPRING 2009 BORDERLESS CITY results in constant mutations of the psychic and transnational spaces within the film. These constant mutations, ultimately, contest any notion of place within the film under discussion.
Ucla Center For the Study of Women, Feb 1, 2009
D'Lugo/A Companion to Pedro Almodóvar, 2013
This chapter explores in detail the dynamics of the significant shift in the portrayal of gendere... more This chapter explores in detail the dynamics of the significant shift in the portrayal of gendered violence in Almodóvar's films. While most scholars tend to split along two contrasting lines of argument surrounding the issue of violent representation in these films, as either negative and misogynist or as a tool for understanding desire and sexual pleasure, this chapter revisits Smith's call to understand and situate Almodóvar's films within the Spanish cultural context. Re-reading his cinema in the light of the mobilization of anti-gender violence activism within Spain since the late 1990s, which is concerned with eradicating the larger social patterns of domestic and sexual abuse, it calls for a re-grounding of representations of gendered violence in Almodóvar's canon.