Papers by Josep Lambies
Feminist Media Studies, Jun 6, 2023
Julie Andrews’s character in The Sound of Music (Robert Wise 1965) is in many ways the embodiment... more Julie Andrews’s character in The Sound of Music (Robert Wise 1965) is in many ways the embodiment of an androgynous ideal that can be found in the mythical origins of numerous traditions. This is evident in the actress’s childish and clumsy body movements, in her ambiguous anatomy, and in the dialogue she maintains with the Alpine landscape, which she engages with repeatedly in the film as if it were a kind of primordial environment for her. This article explores the evolution of the idea of androgyny over the course of Andrews’s career, culminating nearly twenty years after the release of The Sound of Music with Victor/Victoria (Blake Edwards 1982), a film that foreshadows the contemporary notion of gender fluidity. Adopting a methodological discourse related to star studies and drawing on concepts from feminism and queer theory, this article dives into Andrews’s filmography in an effort to clarify this narrative line and its development on the basis of key elements of her performance, such as the use of her body, gestures and the gaze.
FILMHISTORIA Online, 2006
Feminist Media Studies, 2023
Julie Andrews’s character in The Sound of Music (Robert Wise 1965) is in many ways the embodiment... more Julie Andrews’s character in The Sound of Music (Robert Wise 1965) is in many ways the embodiment of an androgynous ideal that can be found in the mythical origins of numerous traditions. This is evident in the actress’s childish and clumsy body movements, in her ambiguous anatomy, and in the dialogue she maintains with the Alpine landscape, which she engages with repeatedly in the film as if it were a kind of primordial environment for her. This article explores the evolution of the idea of androgyny over the course of Andrews’s career, culminating nearly twenty years after the release of The Sound of Music with Victor/Victoria (Blake Edwards 1982), a film that foreshadows the contemporary notion of gender fluidity. Adopting a methodological discourse related to star studies and drawing on concepts from feminism and queer theory, this article dives into Andrews’s filmography in an effort to clarify this narrative line and its development on the basis of key elements of her performance, such as the use of her body, gestures and the gaze.
L'Atalante. Revista de Estudios Cinematográficos, 2023
As Francesco Casetti (2005) suggests, there was an initial period in film theory, up... more As Francesco Casetti (2005) suggests, there was an initial period in film theory, up to around the 1940s, that was defined by what has come to be known as classical theory. During this period, a series of discourses were developed that sought to provide the cinematographic image with its own language of thought. Those discourses included the first reflections on the question of the human face on screen. This paper draws on the work of certain pioneering authors—especially Jean Epstein’s concept of photogénie—to analyse the motif of the human face and how it is being revived in contemporary cinema in the context of the digital image. Taking the perspective of the dialectical method developed by Walter Benjamin, which offers a rich array of concepts such as the lightning flash and glow, the aim of this article is to identify connections between certain images of contemporary faces and those of early cinema
L'Atalante. Revista de Estudios Cinematográficos, 2023
Según indica Francesco Casetti (2005), existe un primer período de las teorías del cine, el de la... more Según indica Francesco Casetti (2005), existe un primer período de las teorías del cine, el de las así llamadas teorías clásicas, que llega aproximadamente hasta la década de los cuarenta del siglo XX, durante el cual se desarrollan una serie de discursos que tratan de proporcionar a la imagen cinematográfica una forma de pensamiento que le sea propia. Entre ellos, se encuentran las primeras reflexiones sobre el tema del rostro en el plano. El presente artículo toma como referencia los escritos de algunos de estos autores —en especial, los textos de Jean Epstein sobre la fotogenia— para empezar a analizar la cuestión del rostro humano tal y como se reaviva en el cine contemporáneo, en el contexto de la imagen digital. Al amparo del pensamiento dialéctico de Walter Benjamin, que ofrece conceptos tan exuberantes como relampagueo y fulgor, las páginas de este texto pretenden trazar líneas que conecten los rostros de la contemporaneidad con el cine de los orígenes.
L'Atalante. Revista de Estudios Cinematográficos, 2022
In the context of the discourse related to the Empty Spain, there
is a clear trend in the so-call... more In the context of the discourse related to the Empty Spain, there
is a clear trend in the so-called New Spanish Cinema of exploring
the idea of a return to the deserted rural landscape, to repopulate it
through images and, in this way, resurrect an ancestral memory that
has all but disappeared. It seems more than a mere coincidence that
since the release of Mercedes Álvarez’s The Sky Turns (El cielo gira,
2004), this movement has been led mainly by female filmmakers. In
the early 1990s, Judith Mayne argued that contemporary feminism
had become obsessed with the idea of excavating a space to uncover
a world that existed prior to the realm of the patriarchal symbolic.
This article is articulated around the analysis of a recent film, Meritxell
Colell’s Facing the Wind (2018), which, through the director’s
way of filming gestures, and specifically, dances, is able to evoke an
atavistic time of the rural feminine.
L'Atalante. Revista de Estudios Cinematográficos, 2022
Existe una tendencia evidente dentro del llamado Nuevo Cine Español alineada con los discursos so... more Existe una tendencia evidente dentro del llamado Nuevo Cine Español alineada con los discursos sobre la España vacía o vaciada que propone regresar al medio rural, repoblarlo a través de las imágenes y, de este modo, reactivar una memoria ancestral ya casi desaparecida. No parece casual que, desde que Mercedes Álvarez hizo El cielo gira (2004), hayan sido sobre todo mujeres cineastas las que han liderado este movimiento. Judith Mayne (1990) escribe que el feminismo contemporáneo se ha obsesionado con la idea de excavar el espacio para encontrar un mundo anterior al reino de lo simbólico patriarcal. Este artículo se articula alrededor del estudio de una película reciente, Con el viento (2018), de Meritxell Colell, que, en su manera de filmar los gestos y, específicamente, las danzas, logra evocar un tiempo atávico de lo femenino rural.
Dissertation by Josep Lambies
TDX (Tesis Doctorals en Xarxa), Mar 22, 2021
Conference Presentations by Josep Lambies
I Congreso Internacional El estrellato cinematográfico en España: actrices bajo el franquismo (2021), 2021
Los créditos iniciales de 'La tía Tula' (1964), de Miguel Picazo, pasan sobre un plano fijo en el... more Los créditos iniciales de 'La tía Tula' (1964), de Miguel Picazo, pasan sobre un plano fijo en el que la protagonista, Tula, permanece sentada en una silla, en silencio, con la mirada dirigida al fuera de campo, clavada en el punto exacto en el que, hasta hace un momento, se hallaba el féretro de la hermana y que ahora sabemos que ha quedado vacío. El presente texto propone estudiar la figura de la actriz Aurora Bautista en esta imagen y ponerla en relación con algunos de los gestos que presentaban las heroínas de las tres primeras películas de su filmografía: 'Locura de amor' (1948), 'Pequeñeces' (1950) y 'Agustina de Aragón' (1950). El objetivo de las páginas que siguen es señalar una evolución que se produce en la carrera de la actriz y que lleva a una transformación de su registro interpretativo, del histrionismo a la contención.
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Papers by Josep Lambies
is a clear trend in the so-called New Spanish Cinema of exploring
the idea of a return to the deserted rural landscape, to repopulate it
through images and, in this way, resurrect an ancestral memory that
has all but disappeared. It seems more than a mere coincidence that
since the release of Mercedes Álvarez’s The Sky Turns (El cielo gira,
2004), this movement has been led mainly by female filmmakers. In
the early 1990s, Judith Mayne argued that contemporary feminism
had become obsessed with the idea of excavating a space to uncover
a world that existed prior to the realm of the patriarchal symbolic.
This article is articulated around the analysis of a recent film, Meritxell
Colell’s Facing the Wind (2018), which, through the director’s
way of filming gestures, and specifically, dances, is able to evoke an
atavistic time of the rural feminine.
Dissertation by Josep Lambies
Conference Presentations by Josep Lambies
is a clear trend in the so-called New Spanish Cinema of exploring
the idea of a return to the deserted rural landscape, to repopulate it
through images and, in this way, resurrect an ancestral memory that
has all but disappeared. It seems more than a mere coincidence that
since the release of Mercedes Álvarez’s The Sky Turns (El cielo gira,
2004), this movement has been led mainly by female filmmakers. In
the early 1990s, Judith Mayne argued that contemporary feminism
had become obsessed with the idea of excavating a space to uncover
a world that existed prior to the realm of the patriarchal symbolic.
This article is articulated around the analysis of a recent film, Meritxell
Colell’s Facing the Wind (2018), which, through the director’s
way of filming gestures, and specifically, dances, is able to evoke an
atavistic time of the rural feminine.