Vol. VI Núm 11 ISSN: 2014-8933 Vol.2018 VII comparative cinema No. 12 2019 of power of the representation Fiction devices in the publicsphere. Iconographies in Editors Albert Elduque (University of Reading, United Kingdom), Núria Gómez Gabriel (Universitat Pompeu Fabra, Spain) and Gonzalo de Lucas (Universitat Pompeu Fabra, Spain).

Associate Editors Núria Bou (Universitat Pompeu Fabra, Spain) and Xavier Pérez (Universitat Pompeu Fabra, Spain).

Advisory Board Dudley Andrew (Yale University, United States), Jordi Balló (Universitat Pompeu Fabra, Spain), Raymond Bellour (Université Sorbonne-Paris III, France), Francisco Javier Benavente (Universitat Pompeu Fabra, Spain), Nicole Brenez (Université Paris 1-Panthéon-Sorbonne, France), Maeve Connolly (Dun Laoghaire Institut of Art, Design and Technology, Irleland), Thomas Elsaesser (University of Amsterdam, Netherlands), Gino Frezza (Università de Salerno, Italy), Chris Fujiwara (Edinburgh International Film Festival, United Kingdom), Jane Gaines (Columbia University, United States), Haden Guest (Harvard University, United States), Tom Gunning (University of Chicago, United States), John MacKay (Yale University, United States), Adrian Martin (Monash University, Australia), Cezar Migliorin (Universidade Federal Fluminense, Brazil), Alejandro Montiel (Universitat de València, Spain), Meaghan Morris (University of Sidney, Australia and Lignan University, Hong Kong), Raffaele Pinto (Universitat de Barcelona, Spain), Ivan Pintor (Universitat Pompeu Fabra, Spain), Àngel Quintana (Universitat de Girona, Spain), Joan Ramon Resina (Stanford University, United States), Eduardo A. Russo (Universidad Nacional de La Plata, Argentina), Glòria Salvadó (Universitat Pompeu Fabra, Spain), Yuri Tsivian (University of Chicago, United States), Vicente Sánchez-Biosca (Universitat de València, Spain), Jenaro Talens (Université de Genève, Switzerland and Universitat de València, Spain), Michael Witt (Roehampton University, United Kingdom).

Guest Editors Jordi Balló (Universitat Pompeu Fabra, Spain) and Ivan Pintor (Universitat Pompeu Fabra, Spain)

Contributors Victoria Cirlot, Isabelle Freda, Joan Miquel Gual, Annalisa Mirizio, Mercè Oliva, Clara Santaolaya, Arnau Vilaró Moncasí, Luis Vives-Ferrándiz.

Editorial Assistants Mario Barranco and Brunella Tedesco (Universitat Pompeu Fabra, Spain).

Translators Daniela Torres Montenegro.

English language reviewer Michael Bunn.

Original design and layout Pau Masaló (original design), Núria Gómez Gabriel (website and PDF layouts).

Acknowledgements Elsa de Seynes (Harun Farocki Institut), Antje Ehmann (Harun Farocki GbR), Carles Guerra, Hito Steyerl, Theo van Leeuwen, Petra Witting-Nöthen (Westdeutscher Rundfunk Köln), Gabriella Jorio (Andrew Kreps Gallery NY), Ruth Pérez-Chávez, Mercedes Pineda Torra (Museo Nacional Centro de Arte Reina Sofía) and Museo Nacional Centro de Arte Reina Sofía.

Publisher Center for Aesthetic Research on Audiovisual Media (CINEMA), Department of Communication, Universitat Pompeu Fabra (UPF).

Place of publication Universitat Pompeu Fabra. Communication Campus - Poblenou. Roc Boronat, 138, 08018, Barcelona (Spain).

E-mail [email protected]

Website www.upf.edu/comparativecinema

Comparative Cinema, Volume 7, No. 12, «Iconographies in the public sphere. Fiction devices in the representation of power», Barcelona, 2019.

Legal Deposit: B.29702-2012 ISSN: 2014-8933

Some rights are reserved. Published under a Creative Commons License (Attribution–NonCommercial–ShareAlike 4.0 International).

Cover Photo Le Fond de l’Air Est Rouge (Chris Marker, 1977).

This issue is an output of the research project MOVEP (Los motivos visuales en la esfera pública. Producción y circulación de imágenes del poder en España, 2011-2017) REF: CSO2017-88876-P, funded by the Spanish Ministerio de Economía, Industria y Competitividad, AEI (Agencia Estatal de Investigación/FEDER, UE). Comparative Cinema is a scientific journal that addresses film studies from a comparative perspective. It is published by the Center for Aesthetic Research on Audiovisual Media (CINEMA) at the Universitat Pompeu Fabra (UPF), in Barcelona. Since its inception in 2012, it has investigated the conceptual and formal relations between films, material processes and production and exhibition practices, as well as the history of ideas and film criticism in different social and political contexts.

Comparative Cinema tackles an original area of research by developing a series of methodologies for a comparative study of cinema. With this aim, it also explores the relations between cinema and comparative literature, as well as other contemporary arts such as painting, photography, music and dance, and audio-visual media. The journal is structured into monographic issues featuring articles, interviews and the re- publishing of crucial texts, which are sometimes complemented by audio-visual essays, either as part of a written article or as an autonomous work. Each issue also includes a book review section which analyses some of the most important works in film studies published in Spain and abroad.

Comparative Cinema is published biannually in English, though it may include original versions of the texts in other languages. It is an open access, peer-reviewed publication which uses internal and external evaluation committees. As such, it is recognized by international indexes such as DOAJ (Directory of Open Access Journals) and Latindex (Regional Information System for Online Scientific Journals of Latin America, the Caribbean, Spain and Portugal). 5-6 Jordi Balló & Ivan Pintor Iconographies in the public sphere. Fiction devices in the representation of power

7-21 Victoria Cirlot The pathos formulae and their survival

22-37 Luis Vives-Ferrándiz Sánchez comparative cinema comparative Pathos in Catalonia: the politics of images in the era of memes 2019 No. 12 No. Vol. VII Vol. 38-52 Isabelle Freda Screening Power: Harry Truman and the Nuclear Leviathan

53-68 Joan Miquel Gual Ruins. A visual motif of the Spanish real estate crisis

69-90 Mercè Oliva The political relevance of “almost trivial-looking things”. An interview with Theo van Leeuwen

91-123 Documents

91-97 Pier Paolo Pasolini The Power Vaccum in Italy

98-105 Harun Farocki Harun Farocki: On Display: Peter Weiss A Production Dossier

106-123 Hito Steyerl in conversation with João Fernandes Art, a Test Site

124-127 Arnau Vilaró Moncasí BENAVENTE, Fran. El héroe trágico en el western. El género y sus límites. Athenaica, Sevilla, 2017, 356 p.

128-131 Clara Santaolaya DIDI-HUBERMAN, Georges. Pueblos en lágrimas, pueblos en armas. El ojo de la historia, 6. Shangrila, Santander, 2017, 476 p.

132-135 Annalisa Mirizio FILLOL, Santiago. Historias de la desaparición. El cine desde Franz Kafka, Jacques Tourneur y David Lynch. Shangrila, Santander, 2016, 302 p.

136 Original Texts 5 Vol. VII Editorial comparative cinema No. 12 Iconographies in the public sphere. Fiction 2019 devices in the representation of power canvas extraordinary isprecisely to Ginzburg, what makes David’s power isexpressed. According content andthecodesby which that mediates theemotional and iconographic background alongside ahistorical, religious political framework coexists that inevery image thepertinent politica Terrore. Cinquesaggidiiconografía in hisbook discussion of thisstatement, Ginzburg, asaresponse and any references to thepast. Carlo takes itover, at theriskof nullifying pictorial process andcompletely historical framework –enters the in which the “conjuncture” –the singles thispaintingoutistheway of modernity. InClark’s view, what presents asthefirst great work Jacques-Louis David, which he The Deathof Marat canvas from theFrench Revolution, in the Year 2”, to themost famous devotes achapter, titled “Painting Modernism Idea: EpisodesfromaHistoryof of the publicsphere. Thus for has infiltrated the representations imaginary hasbeen forged that the placeinwhich acontemporary melting into thehorizon), butalso from the Pietà to thesolitary figure of previous iconographic motifs, of arrival (that is, of acontinuation to be, cinemaisnot only aspace death? character’s dramatic andexpiatory as theunmistakable signof a the very image of Marat andChrist, and thefallen of arm acharacter, in history of cinema, thedeadbody times have we seen, throughout the attributes of martyrdom. How many been invested withtheChristian the fact that thefigure of Marat has However, just aspaintingused In hisbook , hasattempted to show (1999), Timothy J. Clark Paura, Reverenza, Farewell toan (1793), by photographs of theMay ‘68 events Wyeth, gestures orthat incertain in Ford, andthecanvases of Andrew of time andagain, thesolitarysteps to Vladimir Putin, seemsto evoke, investiture, from Barack Obama leader walking alone towards his realize that thefigure of the Nevertheless, itisrevealing to ofat acollective theheart tragedy. dramasingles outtheparticular contemporary photojournalism for itto bethemeansby which by Roberto Rossellini, inorder City in thefeature film death of thecharacter of Pina Michelangelo andBelliniorto the to directly refer to theworks of aforementioned motif of thePietà example, there isnoneedfor the the methodological sources of an exhaustive journey through series of texts interweave to offer the pages of thismonograph, a and power structures. Throughout gestures, expressive formulae survival inthecirculation of attempts to analyze thevisual Ginzburg andHorst Bredekamp, Georges Didi-Huberman, Carlo which, from Aby Warburg to positions related to thetradition the study of visualmotifs from of impact), thismonographic issue tradition hashadafundamental on which thecinematographic for negotiation between agents sphere, andviewed asaspace is represented inthepublic the images through which power andiconographyiconology of potentiality (namely that of the field of studies of extraordinary pathos reverberate. charges, the formulae of archaic in France orcontemporary police Young Mr. Lincoln Comparative Cinema With theaimof delimitinga ( Roma città aperta Rome, Open (1939),by John , 1945), tackles ​​ 6 Vol. VII Editorial comparative cinema No. 12 Iconographies in the public sphere. Fiction 2019 devices in the representation of power used inearlierpaintingsthat we attributes of power which were help to show that by looking at history,Art again, canoften more directly challenge power. of representation that subtly or construction of power. public sphere andtheiconographic between thestudy of cinema, the 2017 images of power inSpain, 2011- Production and circulationof visual motives inthepublicsphere. with theproject MOVEP ( its inception andwhich, together Fabra (UPF)hasexplored since Media) at theUniversitat Pompeu Aesthetic Research onAudiovisual research group CINEMA(Center for iconographic analysis that the methodological expansion of the issue outlinesanoverview of the Harry Truman. Asawhole, this study of politicalfigures such as of thereal estate crisisandthe process inCatalonia, theportrayal applications to thepolitical iconology, includingspecific Farocki for thetelevision piece documents of filmmaker Harun – inaddition to theproduction Potere” ( firefliesarticle” – “Il Vuoto del iconography, known as “The on thelinkbetween politicsand of afundamental text by Pasolini Hitoartist Steyerl andtherecovery interview withtheoretician and number of other documents: an addition, theissuefeatures a included inthemonograph. In semiotics, inoneof theinterviews Leeuwen, aleading figure insocial representations”, notes Theo van of power incontemporary visual the kindof symbolic attributes it, andwhich ussimilarly alert to recognize assuch unless we study don’t necessarily immediately “[…] there canalsobeforms ), issituated at thenexus point Corriere della Sera The , 1975) which isnowadays subject to the in theimages of thepublicsphere, the history of cinema, aswell as seem to have persisted throughout Koehler, thelatencies of which Region of Charleroi by Delacroix, to Liberté guidantlepeuple visual motifs of thepast. continuous changeability of the Liberty Leading thePeople this hasbeenembodied, from amount of canvases onwhich resistance, butalsoanendless circulation of forms of political 1981) not only dealswiththe Ästhetik desWiderstands The Aesthetics of Resistance his contemporaries. Hisnovel centuryfurtherthanany of 20th the politicaliconography of the took thenarrative exploration of of thefilmmakers andwriters who on thesubject of Peter Weiss, one “On Display: Peter Weiss” (1979), (See originaltexts at theendof thejournal) Translated by Daniela Torres Montenegro Jordi Balló andIvan Pintor The Strike inthe (1886) by Robert , 1830) , 1975- ( La La ( Die Vol. VII comparative cinema Victoria No. 12 2019 Cirlot 7-19 The pathos formulae and their survival1 This article attempts to set out and understand what art historian Aby Warburg called Pathosformel (pathos formulae), a key concept in his studies, though he never expressly offered a definition, nor explained what his understanding of it was. The emergence of the concept is traced in his work, deciphering its meaning and its implications for the analysis of images, also from the most significant and recent bibliography on the subject. Finally, the Pathosformel concept is applied to a contemporary photographic image which enables us to better understand its effect in the way it is received by its viewers, thus establishing a dialogue between the iconographic tradition of the past and the present.

Keywords PATHOS FORMULAE IMAGE GESTURE VIOLENCE ICONOLOGY ABY WARBURG

Date of reception: 01/05/2018 Date of acceptance: 28/08/2018

Victoria Cirlot (Barcelona, 1955) Professor of Romance Philology at the Faculty of Humanities at Universitat Pompeu Fabra. She has devoted herself, among other fields of study, to the visionary phenomenon and the life of images, in books such as Hildegard von Bingen y la tradición visionaria de Occidente (Herder, Barcelona 2005; L’Harmattan, Paris 2017) and La visión abierta. Del mito del grial al surrealismo (Siruela, Madrid 2010), as well as the forthcoming Visión en rojo. Abstracción e informalismo en El Libro de las revelaciones de Juliana de Norwich (Siruela, Madrid 2019).

https://orcid.org/0000-0002-0203-4576 DOI: 10.31009/cc.2019.v7.i12.01 8 Vol. VII Article comparative cinema No. 12 VICTORIA CIRLOT 2019 The pathos formulae and their survival https://orcid.org/0000-0002-0203-4576 vocabulary. Taken from anthropology, precisely theother key word inhis scholar, the research territory of thisgreat the “pathos formulae” constituted 1906/1979b/2004c). The survivalof Renaissance culture (WARBURG, of theancients”) that reemerged in from the and southEurope, particularly theones the exchange of images between north and Italianart, inwhich hepresented 1905 inHamburg, aboutAlbrecht Dürer term in alecture, delivered inOctober 1997/2004: 27). Warburg introduced this and repetition of stereotypes (SETTIS, the “formula”, however, entailsfixity instability, movement andinstantaneity, two opposites: while “pathos” implies Settis, insofar asitiscomposedof term, asdescribedby Salvatore creation of astyle. This isan “explosive” Renaissance Quattrocento inthe artists were incorporated into theworks of (Greek andRoman) andthat art forms that hefound inancient expressive intensified orsuperlative (pathos formulae) to namethe 1929) usedtheterm My intention here isto enter into, hand- instead to present itinallitscomplexity. do not expect to solve inany way, but need to thearchetype, andwhich I from different positions, from biological a complex issuethat canbeapproached how andwhy thissurvivaltakes placeis cultural contexts. Understanding exactly expression returned to live oninother of itsformulary nature, pathetic since each impliestheother: because supportive concepts inWarburg’s work, formulae andsurvivalare two mutually (DIDI-HUBERMAN, 2002: 51-90). Pathos evolutionary andlinearideaof history return and, therefore, contrary to the to theNietzschean ideaof eternal has describedas “rhizomatic”, close time that Georges Didi-Huberman supposes aconception of historical specifically from Edward B. Tylor, it Art historianArt Aby Warburg (1866- Nachleben all’ antica (“survival”) being (“in the manner (“in themanner Pathosformel

concept ( process. There isnodefinition of this it was integrated into thecreative into theRenaissance style, andhow how he discusseditsincorporation “pathos formulae” created inantiquity, exactly what Aby Warburg meantby were of ourcollective part memory. public, asifthisformulary repertoire which are somehow recognized by the determined according to such formulae, centurycanbe which images of the20th seeing, from that example, theway in based onaspecific example. It’s about adoption andtheirsurvivalinourworld, mechanisms of pathos formulae in-hand withWarburg, thecreative expression of grief. This was aperfect with herhead raised and wearing an covered withhishands, andthewoman man withhisheadbowed inshame and movements, theflight of thefigures, the he noted theextreme loquacity of the Expulsion from the Garden of Eden, their placementwithinthesetting. relation between thehead, theface and from theancientpast; aswell asthe innovation anditsresemblance to faces in facial structure, wondering at its Lippi, hewas especially interested 1427) andfinishedin1485 by Filippino (1425), continuedby Masaccio(1425- frescoes that were begun by Masolino chapeldel Carmine inFlorence, in the types represented intheSantaMaria (WARBURG, 1888/2004a). Ofthehuman his attention ontheexpressive forms seminar, hewas already focusing all Warburg attended August Schmarsow’s winter semester of 1888/89, when Historyof Art inFlorence, duringthe the Brancacci chapel at theInstitute its useandapplications. Inalecture on we have to deduceitsmeaningfrom Firstly, we needto understand 1. Thus, inMasaccio’s sceneof the Pathosformel DOI: 10.31009/cc.2019.v7.i12.01 ) inhiswork, so 9 Vol. VII Article comparative cinema No. 12 VICTORIA CIRLOT 2019 The pathos formulae and their survival https://orcid.org/0000-0002-0203-4576 perspective: (MURANO, 216: 156). Taking aDarwinian the memory, andtheirreemergence” law that guides thestoring of forms in forms, andtheexistence (or not) of a originandcause of figurative“the which focus onanunderstanding of presented thesamegoals asDarwin, stresses that Warburgian research VII) 1888 (PFISTERER andHÖNES, 2015: notes onNovember inhisjournal 29th Darwin. “Finally, auseful book!” he Emotion inManand Animal Library of Florence: discovery of abookin theNational was mostly oriented by thefortunate formed by Schmarsow’s seminar, butit and itsexpression hadprobably been This careful way of looking at thebody character could berecognized (Fig. 1). the bodyasaqualitythrough which the example to show how treated anartist expressive movement. The bookis and T. Piderit’s work onmimicry and Institute, along with Darwin’s book found onthefourth floor of the Warburg Fisionomia emimica Mantegazza (1831-1910). His book work of Italiananthropologist Paolo research of expressions. Itisthe remained unknown intheWarburgian source, which untilthat momenthad resurface. This scholar adds another an ancestral past”, always ready to communication”, the “testimony to gestures, the “deepest stratum of for thesurvivalof expressions and would constitute theclear argument In thisway, biological necessity 2 . Inarecent study, Jessica Murano useful” (2016: 157). what was originally biologically therefore, asymbolic residue of time into aspecific formula: itis, language that hascrystallized over responded through aspecificbody causes tocertain which manhas physical, emotional response to animal, results from aprimitive, “most mimicry, both humanand The Expression of The Expressionof (1881) can be (1881)canbe by Charles enabled usto examine, step by step, comparison between texts andimages (2004b: 79). The pointwas that such a of the15thcenturywere interested in” which aspects of antiquitytheartists literature of thetimeinorder to clarify ideas oftheory thepoetic andtheart paintings usingthe “corresponding made acomparisonof Botticelli’s two 1893/1979a/2004b). Inthiswork, he University of Strasbourg (WARBURG for hisphilosophy at dissertation the he presented onDecember8th1891 Primavera work, both in splendidly illustrated inBotticelli’s soon becalled “pathos formulae”. and gesture language, orwhat would Warburgian research into expressions are located at pointof thestarting the clear is that DarwinandMantegazza 169). Inany case, what seemsto be interiorized by thespectator” (2016: and theway inwhich itisperceived or the nature of theexpressive gesture image isaninstrument of analysis of expression by Mantegazza, where the “was influenced by this work about it seemsundeniable that Warburg different causes. AsMurano concludes, shed light onpaininducedby several and 88photographs works of art which seven experimental photographs of pain – del dolore addition, Mantegazza wrote signed by Aby Warburg (2016: 162). In movement” ( and clothing. The “accessories in focused onaccessories, such ashair the movement of thefigures and language, Aby Warburg looked into As well asexpressive andgesture these ancient models when it these ancient modelswhenit and how they were guided by gesteigerte äussereBewegung an exterior intensification ( model of movement that required their advisers viewed antiquityasa “the way inwhich and artists “the Atlante deldolore (1881)anddevised anatlas , thesubject of theresearch bewegtes Beiwerk The Birth ofThe Birth Venus DOI: 10.31009/cc.2019.v7.i12.01 (1876) – in (1876) –in Fisiologia Fisiologia ) were and and eine eine ), ), 10 Vol. VI Article comparative cinema No. 11 VICTORIA CIRLOT 2018 The pathos formulae and their survival https://orcid.org/0000-0002-0203-4576 Massacio, c. 1425-1428) (detail) ( Expulsion fromtheGardenof Eden FIG. 1 Cacciata deiprogenitori dall’Eden , 1484–86) (detail) ofThe Birth Venus FIG. 2a Botticelli, c. 1484–86)(detail) ofThe Birth Venus FIG. 2b ( Nascita di VenereNascita DOI: 10.31009/cc.2019.v7.i12.01 ( Nascita di VenereNascita , Sandro Botticelli, c. , Sandro 11 Vol. VII Article comparative cinema No. 12 VICTORIA CIRLOT 2019 The pathos formulae and their survival https://orcid.org/0000-0002-0203-4576 behind thoseworks thegreat shaping works,on theart buthefelt andsaw Warburg’s of seeing: art contains amagnificent testimony to Aby that ErnstCassirer devoted to him and agitated faces Warburg focused onturbulent figures the Laocoön sculptural group, while Winckelmann saw stillness, even in those of Winckelmann andWarburg. opposing views inthe history as of art manifested. Itishard to findtwo such which the complete opposite was with many different examples in constantly saw withinitclashed Grösse given that the “still greatness” ( with modelsfor depicting theexcessive, antiquity provided Renaissance artists domain of thesuperlative. Indeed, of intensification inorder to enter the movement could also betheobject the motion of any of thebody, part art are outof art born suffering and painis 2002: 200). humanity” (cited inDIDI-HUBERMAN, times created asalasting heritage of formulae’ ( saw what hecalled thegreat ‘pathos moving forces ( forms resting uponthemselves, hesaw delimitedhad seenparticular forms, the mystery of thelaws. Where others to penetrate thestructure anddecipher unique language, where healways tried converted into something legible, like a him, any creative configuration was of passionandhumanfate. Thus for of theexpression of beinghuman, were nothing buttheexternal forms Energien energies ( Just like facial expressions or The Nietzschean ideathat works of “His gaze didnot infact fall, at first, (2004b: 79)(Fig. 2aandb). Beiwerk in exterior movement ( came to portraying theaccessory ) that Johannes Winckelmann ). Andfor himthoseenergies die grossengestaltenden Pathosformel ), such asclothing orhair” bewegende Kräfte 3 . The funeral eulogy ) which ancient ) which ancient bewegtes stillen stillen ); he her orgiastic danceinexchange for the the severed head, orSalome whooffers the fruit intheservant’s basket with already lurking– Judith whoreplaces if shewere flying, the “headhunter” is entrance into theroom, advancingas and intheextreme lightness of her through thetransparent garment, beauty of thebodythat we canglimpse Novella of Florence. Because inthe Tornabuoni’s chapel at SantaMaria Baptist’s by DomenicoGhirlandaioin ofin thesceneof St thebirth John the kanephoros such as, for instance, theonethat the seeing what theexalted beauty hid, Apollonian appeared, hewas already to such adegree that whenonly the dominates hisgaze upontheimage the Apollonian andDionysian always conceived in like thenotion of polaritythat Nietzsche present inallof Warburg’s research, just pathetisch gesteigerte Mimik models of “pathetic gestuality” ( of the15thcenturysearched for the how inthe secondhalf Italianartists prevented scholars from showing greatness” ( about theclassicist doctrine of “still in 1906, Warburg beginsby talking text of thelecture publishedinLeipzig (WEDEPOHL, 2014). According to the London, hasstill not beenpublished conserved at theWarburg Institute in 50 handwritten pages, unreleased and and b). The complete text of thislecture, (WARBURG, 1906/1979/2004c) (Fig. 3a usedasamodel artist the German engraving by theMantegna circle, which Death of Orpheus civilization:modern Albrecht Dürer’s for thehistory of antiquity’s survivalin the city’s Kunsthalle as “documents” two images that were conserved in in October 1905inHamburg, heused to show pathos. Inthelecture hegave those forms that date back to antiquity concept that canbeusedto determine violence that led Aby Warburg to coina Baptist’s head. Itwas asceneof bloody “nymph servant” shows stillen Grösse Die Geburt der Die Geburt Tragödie DOI: 10.31009/cc.2019.v7.i12.01 andtheanonymous ) which has ) which has ) in the ) inthe für für 4 , as as The The 12 Vol. VII Article comparative cinema No. 12 VICTORIA CIRLOT 2019 The pathos formulae and their survival https://orcid.org/0000-0002-0203-4576 1497 (Fig. 4). scene of Orpheus’ death dates from Ovid’s xylography of the Venetian editionof up-to-date intheItalianlanguage. The – was beingstaged, anditwas brought Angelo Poliziano’s first drama – Orpheus’ death, inMantua1480, using theold pathos formulae to portray fromartist theMantegna school was formulae” ( refers to usingtheterm of “pathos circles,in artistic amodelthat henow which the modelhadbecomerooted to thevitalstrength ( Orpheus’ death isresolved bearwitness which coincide intheway theimage of worksthat art that are different but use of such models. Warburg notes to thefact that made theItalianartist to depict thetragic episode, inaddition in Greece, of apathetic bodylanguage Greek ceramics thecreation, confirms the resolution of Orpheus’ death in comparison of Italianengraving with antiquity (1979b: 125/2004c: 408). The rediscovered treasure of theforms of Like many other artists, Dürer felt he the autonomy of hisown individuality. esthete,the modern obsessedwith with regard to thetypicalcravings of artists, andhighlights hisdistance of Dürer’s copiesof thetwo Italian Warburg offers several examples Mantegna andPollaiulo was crucial. artist, for whom thediscovery of The circle closes withtheGerman (1979b: 127/2004c: 413). ( describing life inmovement into theRenaissance style of oder seelischen Ausdrucks expression ( of intensified bodyandsoul to integrate theancientformulae together here inajointattempt circle]”, wrote Warburg, “come engraver from theMantegna refers to thecityof theanonymous bewegter Lebensschilderung Metamorphoses “Mantua andFlorence [he Pathosformel gesteigerten körperlich lebenskräftig that shows the ) 5 . While the ) Orpheus ) with ) with )” )”

overview of pathetic formulae: race/ by Claudia Wedepohl, we findan history of style. Inapage published as away of devising apsychological about systematizing the fact that Aby Warburg was thinking Notes for 1905)istestimony to the A notebook (known asStrasbourg’s Gelassenheit bodenständigen Nürnbergischen Nuremberg ( imperturbability the instinctive resistance of hisnative the heathenvivacitywith southern according to Warburg, he “opposed to follow Dürer’s creative process, since Although thiswasn’t thepath heused tookwho inturn itfrom theancients. known thanks to theItalianartist, example of theuseof a in 1905 drawings known as workshop. The publication of the book of culminating inDomenicoGhirlandaio’s superlatives of gestural language, and whowasartist fervently drawn to the was thework of Antonio Pollaiuolo, an of bodylanguage. Asecondkey point the discoverer of theancientformulae adopted, consideringDonatello to be by which thepathos formulae were paper, Warburg sumsuptheprocess translation. Iamtalkingabout by Maurizio Ghelardi inanItalian in full inGerman, butpublished one of Warburg’s lectures, unpublished Pathosformel resurrection (WEDEPOHL, 2014). allegorical triumph/death, lamentation, mythical triumph/Roman triumph/ dance/courtship/abduction/conquest/ Dürer’s habit of studying by makingcopies. it hisown, inaddition, of course, to the could appropriate thepast andmake of Florence on April 20th 1914 of Florence onApril 20th the lecture hegave at theInstitute of Art the paintingsof theEarly Renaissance”), entrance of theidealantiquizingstyle in die MalereiderFrührenaissance Eintritt desantikisierenden Idealstilsin The effectiveness of theterm

(EGGER, 1905-1906) enabled The Deathof Orpheus )” (1979b: 128/2004c: 415). can also be verified in canalsobeverified in DOI: 10.31009/cc.2019.v7.i12.01 Codex escurialensis Pathosformel Pathosformel seiner seiner is a clear is aclear 6 Der Der . Inthis (“The (“The ,

13 Vol. VII Article comparative cinema No. 12 VICTORIA CIRLOT 2019 The pathos formulae and their survival https://orcid.org/0000-0002-0203-4576 examples, butthe cited onesseem 661-663). Warburg adduces many more copied inthe the characters inthe Trajan column the soldiers’ faces hadbeentaken from revealed that theexpressions of fear on central image inthe Tornabuoni chapel, Christ’s resurrection by Ghirlandaio, the engravings (2004d: 621-627) (Fig. 5). battle withthegiantsDürer’s compare thepathetic style of Hercules’ and Baroque limitsdisappear”, to of gestural language madeMannerist to what extent his “muscular rhetoric masculine athletic ideal, Warburg saw school), aperfect exposition of the deeds by Antonio Pollaiuolo (or his could be expressed. InHercules’ heroic free rhythm of ancientcorporeality clothing ( from thestiff pomposityof courtly how Donatello freed thehumanbody 1914/2004d: 587). Warburg shows Roman life was manifested (WARBURG, in which the imperialpathos of heroic myths, andthetriumphantsculptures expressed thetragic pathos inGreek style basedonancientsarcophagi that learned from theexpressive Warburg to effectively verify allhehad the way inwhich gestural language Semon, andwhich above allstressed from thework of biologist Richard engramma does however includeothers, such as not appear inthisIntroduction, which 2012: 3-6). The term the Renaissance period(WARBURG, is to portray life inmovement during ( ( the purposeof the In theIntroduction, Warburg defines Warburg’s sudden death left unfinished. project of the and theirsurvivalled onto thegreat were oriented by the researchAll thesepartial studies that language, aswell asitspathetic nature. nature of thisexpressive, gestural sufficient to corroborate the formulary Vorprägungen Inventar ) of antiquizing minting ) of antiquizingminting alla francese ( Engramm Codex escurialensis Mnemosyne Atlas ), thepurposeof which Atlas Pathosformel Pathosformel ), aconcept taken ) so that the ) sothat the asaninventory all’antica , which (2004: does does

The Deathof Orpheus to OrpheusandEurydice (1471). Dürer’s painting by Jacopo delSellaiodevoted 5th centuryB.C., inaddition to thechest Orpheus andEurydice’s death from the three depictions, inAttic pottery, of the background iswhite andcontains 5 it by introducing theportfolio in if insomeway hewanted to highlight vitality of theformula: deducing inaWarburgian mannerthe Gombrich paidattention to thegestures, In order to describeDürer’s engraving, Pathosformel the seminalideafor theWarburgian and Gombrich viewed thissentence as an ancientform”, Burckhardt claimed, some way orother, itisproduced outof “Everywhere that pathos appears in his intellectual biography onWarburg. Burckhardt, as E. Gombrich notes in is anideathat comesfrom Jakob depiction of sameto ancientculture artist’s which isdevoted entirely to theGerman This isaclear precedent to the a very similar way to the included several images, conceived in portfolio printed for thepublicwhich lecture onDürer that Warburg hada because itwas precisely inhis1905 into thenew Renaissance style, Pathosformel to theneedto bringtogether theold that the But what isclearly shown istheidea (SEMON, 1905; seeCIRLOT, 2014). becomes impressed onthememory of the The attribution of pathos andthe the life of theformulae andhow demonstrates thevigorousness of on Greek vasesandsarcophagi The continueduseof that type was created by classicalart. of themaenads, is atypethat women, aswell asthegestures to stop theblows of thefurious singer, whoraises invain hisarms Pathosformel Atlas “The figure of thedefenseless Atlas . Unlike theAtlas panels, andtheirincorporation (GOMBRICH, 2015: 173). project isclosely linked DOI: 10.31009/cc.2019.v7.i12.01 (Fig. 6). isin Atlas Tafel 57 panels. Atlas Tafel Tafel , , as , as 14 Vol. VI Article comparative cinema No. 11 VICTORIA CIRLOT 2018 The pathos formulae and their survival https://orcid.org/0000-0002-0203-4576 puseran The Deathof Orpheus FIG. 3a Orpheus’ death (1497) Metamorphoses Xylography of the Venetian edition of Ovid’s FIG. 4 , Albrecht Dürer, 1494) that shows thesceneof ( Orfeus dererst Ferraresischer Meister, c. 1470-1490) Der Tod desOrpheus(TheDeathof Orpheus, FIG. 3b

DOI: 10.31009/cc.2019.v7.i12.01 15 Vol. VI Article comparative cinema No. 11 VICTORIA CIRLOT 2018 The pathos formulae and their survival https://orcid.org/0000-0002-0203-4576 Battle of Hercules and the Giants Battle of Herculesand theGiants FIG. 5 Bilderatlas Mnemosyne, Panel 57of the FIG. 6 Mnemosyne Atlas Aby Warburg, 1929) (Antonio Pollaiuolo, 15 ( Der th century) DOI: 10.31009/cc.2019.v7.i12.01 16 Vol. VII Article comparative cinema No. 12 VICTORIA CIRLOT 2019 The pathos formulae and their survival https://orcid.org/0000-0002-0203-4576 the rigidityof theformula andthe “explosive” word that containsboth is aneutral term, between thetwo terms. While he notes thedistance that existed and theconcept of likely that Warburg knew Dilthey’s work Lectures also analyzed by Fritz Saxlinhis1947 and thevictor (Mitra), andwhich was to both thevanquished(Cassandra) of kneeling, which could beapplied image or icon, to alludeto theformat Dilthey usedthisterm, aformula for the (SETTIS, 1997/2004: 24). Specifically, the momentaryaffections of thesoul in hisstable elements, and “pathos” as “ethos” asthenature of theindividual and “pathos” inancientculture, taking 1997, andinwhich hecompared “ethos” oval room of Hamburg’s Warburghaus in Settis did soinalecture hegave inthe on classicalarcheology by Karl Dilthey. of the the concept of Renaissance. Aby Warburg intheItalian and northern intense vitalitywas clearly proven by deepest strata of humannature, andits formulary repertoire emerged from the nucleus of pathos (2004: 32). This recognizing andrevitalizing theintimate which isancient, andthepossibilityof phenomenon of thesurvivalof that (as Charles Darwinnoted) explains the initial biological needof bodylanguage and passions. According to Settis, the array of forms to express movement in Greek culture of thecoiningof an Aristotle’s deduces from different sources (such as impetus of pathos (2004: 27) On February 1976inBarcelona, 2. Meanwhile, Salvatore Settis linked climax.” (2015: 174) myth of which they describethe expressing thetragic pathos of the they were deemedappropriate for Bildformel (2004: 27). Settis considers it DeAnima Pathosformel used in an 1874 study usedinan1874study Pathosformel Bildformel ), aclear awareness 7 with that withthat . Settis , though Bildformel is an isan

same pathos formulae asinDürer’s resolves theimage according to the in thisphotograph here because it world it received from themediaaround the professionally, given thegreat impact photographer himself, established him series: theonethat, according to the in another photograph from thesame 2017). Here, however, Iaminterested on February 2017(DIDI-HUBERMAN, Museumof(National Catalonia) Art Museu Nacionald’Art deCatalunya (“Insurrections”), which openedat the by thegas containers thrown by the trees andsomekindof mist, produced background is populated by winter his wife, Eurydice), thephotograph’s for heswore not to love any woman but homosexuality ( seems to make reference to thesinger’s with thecontroversial inscription that the tree marks inDürer’s composition, Instead of theclear axisthat vertical behind thegroup of fallen figures. Armengol’s picture another policeman maenad from behind, we seeinManel as asymmetrical inversion of the us inDürer’s drawing, andwhich works arm. Inplaceof themaenadthat faces repeats theprotective gesture of the composition of thesinger anditalso though itreaffirms thetriangular jumble replaces thekneelingOrpheus, a blow withhistruncheon. The human right raised arm ispreparing to strike fallen humanbeings, andwhowithhis positioned to theright of thejumble of character withhisback to thecamera the image, which isresolved withthe the way thephotographer framed Death of Orpheus poster for theexhibition the cover of thecatalogue andthe chose one from outof allof themfor transition. Georges Didi-Huberman of what hasbecomecalled the against protesters, duringthetime sporadically depicted policecharges black-and-white photographs that Manel Armengoltook aseriesof 8 . Iamparticularly interested Orfeus dererstpuseran DOI: 10.31009/cc.2019.v7.i12.01 (Fig. 7). Iwillhighlight Insurreccions The The

, 17 Vol. VII Article comparative cinema No. 12 VICTORIA CIRLOT 2019 The pathos formulae and their survival https://orcid.org/0000-0002-0203-4576 a stone”. women [...] The weapon of another was observed himthere [...] Oneof those animals, from the summitof ahill breasts concealed inskinsof forest Ciconian matrons, with theirraving bard of Thrace, allured thetrees [...] Book XI of the first speaks of Orpheus’ tragic death in the establishing of theformula. Ovid to focus on, which isnoneother than will beenough, at least for what Iwant Angelo Poliziano. However, Ovid’s tale Fable of Orpheus the event that they existed, orwiththe versions from the5thcenturyB.C. in would beexciting to compare itto Greek is. Iwilluseonly Ovid’s text, thoughit understand what exactly theformula be interesting to to turn thetext to us to anextreme violence. Itwould is a the victim (or victims) candonothing. It unleashing of violence, against which show us thesameenergy charge: the with thesamerhythm, andthat they the fact that both images are imbued But allthesevariantscannot hide police, aswell asasign( clamor of Bacchic screams. the musicof thezithercandoto haltthe poet’s blood, andnow there isnothing death: thestones are reddened withthe release of aggressive instincts and must ready ourselves for thecomplete Fury overcomes theright”. Thus we moderation isentirely lost, andawild of such warfare thenincreased. All Or asthepoet putsit: “The madness followed by another at close quarters. This first attack, from afar, is “While withhissongs, Orpheus, the Pathosformel clods, and others branches torn emerald leaves//And somethrew hurled thyrsi with […]adorned rushed against thebard, withswift their blood-stained hands[...] they “And thenthey onhim turned Metamorphoses from 1480, written by insofar asitexposes Academia : ...). entire feeling of terror caused by the entire idea–orbetter yet, the the “pathos formula”) because moment istheformula (necessarily, intensity. The choice of thisperfect textually asadisplay that grows in reveal what was beingoffered a momentthat would somehow image, thepainter hadto choose studies the lecture that hegave to philologists, drawing. Aby Warburg, inhis1905 circle engraving that inspired Dürer’s death, nor the anonymous Mantegna the ancientdepictions of Orpheus’ claims that hedidnot know about in archeology, ManelArmengol Despite hisstudies andinterest to helpusunderstand thepresent. image, which returns from thepast However, there liesthesurviving fear, speed, andfugacity prevail. protesters. In this situation, confusion, situation of policecharges against in Dürer’s drawing. Let usimaginethe said tradition, excellently portrayed particularly ascenecoincidingwith why thephotographer selected Now we canaskourselves how and to thetradition of pathos formulae. the right choice, at least according and gestures. Itwas, withoutadoubt, event comprisedof multiple actions extracted asingle momentfrom an overview. Similarly, thephotographer condensed into theiconographic the violent aggression –hasto be In thetransition from word to persuasion” (OVID, 1922) and only timehisvoice hadno implored theirmercy –thefirst while his out-stretched hands impious hate, murdered him, bard, devoted Orpheus; andwith spades] to destroy theharmless [the harrows, therakes, the savage fury [...] they hastened of weapons might restrain their stones at him, and, that nolack from trees; andothers threw flint Pathosformel DOI: 10.31009/cc.2019.v7.i12.01 as copies ascopies comparative cinema comparative

18

FIG. 7 Picture of the demonstration “Llibertat, amnistia i Estatut d’Autonomia” in Barcelona (Manel Armengol, 1976) Article CIRLOT VICTORIA and their survival formulae The pathos 2019 No. 12 No. Vol. VII Vol.

https://orcid.org/0000-0002-0203-4576 DOI: 10.31009/cc.2019.v7.i12.01 19 Vol. VII Article comparative cinema No. 12 VICTORIA CIRLOT 2019 The pathos formulae and their survival https://orcid.org/0000-0002-0203-4576 (WEDEPOHL, 2014). Naturally, each the collective memory( ( regularly reemergent residual images primitive experiences ( of archetypes that hadoriginated in notes, Warburg admitted theexistence his still-unpublished overviews and on Warburg’s publishedwork buton study on thesubject, basednot only Claudia Wedepohl summarizes inher that are culturally well-known. As the pathos formulae are stereotypes feelings. Butthisdoesnot meanthat excessive andout-of-control human they hadestablished inorder to express copied theAncients’ formulae which ofartists thefirst Italian Quattrocento Warburg indubitably proved that the openly copy theFlorentine engraving. Orpheus, andDürer didnot hesitate to the ancienticonography of thedeath of anonymous engraver undoubtedly knew and imitations of existing models: the Nachbilder ) that were etched on anticheggiante nellapittura delprimoRinascimento Withthiscomparison,3/ Aby Warburg concludeshisstudy rial for examining themeaningof the sion that are containedinthisvolume, butthey constitute further interesting mate Inthisarticle,2/ Ihave not beenable to commentonAby Warburg’s notes onexpres March 10th-12th, 2018. discussion onthematerials of the by the Cultural laMercè, Girona. Iwould like to thanktheMnemosyne Seminar, organized series “Iconografia. Imatges ambsentit” coordinated by Jordi Balló at theCentre 1/ The originof was thisarticle alecture given onFebruary 22nd2018inthelecture cle (WEDEPOHL, 2014). 7/ Seethecorrespondence between Warburg andDilthey inClaudia Wedepohl’s arti that summaries were (WARBURG, publishedinItalianandGerman 1914/2004d: 583). Ghelardi notes that6/ there isanEnglishtranslation (withouttheappendices), and 126) The italicsare myown. zurückgehend, inKünstlerkreisen eingebürgert hatte...” (WARBURG, 1906/1979b: archäologisch getreue Orpheus [...] zeigen fast völlig übereinstimmend, wielebenskräftig sich dieselbe 5/ “Auch andere, ganzverschiedenartige Kunstwerke mitBildern vom Tode des SeetheNietzsche-Warburg relation4/ inDIDI-HUBERMAN, 2002: 142-190. 675). Engramma journal Ur-Erfahrungen mneme ) Pathosformel (www.engramm.it) School and theNormal of Pisafor the ), ), Pathosformel , auf eineOrpheus-oderPentheusdarstellung Pathosformel admirable. viewers, issomething that isjust as that remembers, the artist asdohis nature, to create expressive formulae effort that ismadeto understand this fails to astound. Likewise, thehuman way unaltered, issomething that never has survived through centuries, insome intimate nature of thehumanbeingthat singer was. Cominginto contact withthe who were positionedwhere thedivine as afurious maenadattacking victims Armengol, whoportrayed thepoliceman be seeninthephotograph by Manel Germany of histime). This canalso the treatment of homosexuality inthe the problems of hisworld (inparticular, sense that hisdrawing hadto dowith probability, Dürer already didso, inthe or pathos formulae in itsown way: inall period re-enacts such residual images (See originaltexts at theendof thejournal) Translated by Daniela Torres Montenegro inwhich Iparticipated inCortona, . (WARBURG, 1914/2004d: 674- DOI: 10.31009/cc.2019.v7.i12.01 L’ingresso dellostileideale - - - 20 Vol. VII Article comparative cinema No. 12 VICTORIA CIRLOT 2019 The pathos formulae and their survival https://orcid.org/0000-0002-0203-4576 concetto diPathosformel. Aisthesis Barcelona: Planeta Historia ySociedad. Klincksieck. Topo. Barcelona: Angle Editorial. Granada: Comares. DJERMANOVIC, Tamara(eds.), Edicions 62. des organischen Geschehens Fragmente zurAusdruckskunde Brookes More. der Werkstatt Ghirlandaios. Domenico europea: Aby Warburg, CarlGustav Jung yRichard Semon. Resistència Cultural iRedreçament, 1939-1990, Bibliography and Pedro Vega (2007). Josep MariaLoperena (2013), and al., 1998); Cultura Catalana, Resistència Cultural iRedreçament, 1939-1990, Vol. X by Joan Colomines (2003); David Ballester andManelRisques(2001); País, Interviú, ElPunt-Avui Times, ParisMatch, Le Nouvel Observateur, Newsweek, L’Expréss, La Vanguardia, El 8/ The photograph was publishedin MURANO,(2016). Jessica LOPERENA, Josep Maria(2013). JÁUREGUI, Fernando; VEGA, Pedro (2007). GOMBRICH, Ernst(2015). ESPUNY, Leopoldo (2013). EGGER, (1905-1906). Hermann DIDI-HUBERMAN, Georges COCA,(2016). Jordi COLOMINES,(2003). Joan CIRLOT, Victoria(2014). CASTELLET, Josep Mariaet al. (1998) BALLESTER, David; RISQUES, Manel(2001). WARBURG, Aby SETTIS, Salvatore SEMON, Richard (1905). PFISTERER, Ulrich; HÖNES, HansChristian (eds.) (2015). OVID (1922). selon Aby Warburg Warburghaus, (1997). (2017). (2002). Viejo tango encarnaval Metamorphoses. Insurreccions. Pathos und Ethos. Morfologie und Funktion. Vorträge aus dem L’image survivante. Histoiredel’art ettempsdesfantômes, (p. 23-34). Pisa: Istituti editoriali epoligrafici internazionale. Moderna: semestrale diteoriecriticadellaletteratura, vol. I(p. 31-73). Berlin: Akademie Verlag. Republished in: (2004). Diesmeravellosos. Diesmeravellosos , andalsoonbookcovers, including: , Paris: Les Éditions duMinuit. Memoria, supervivencia eidentidadenlacultura «Pathos» und «Ethos», morfología efunzione. Die Mnemealserhaltendes PrinzipimWechsel Fisiologia delgesto. Fonti warburghiane del . Leipzig: WilhelmEngelmann. Aby Warburg, unebiographie intellectuelle. Crònica del’antifranquisme aCatalunya. Viejo tango encarnaval. , by Leopoldo Espuny (2013); La construcciónestéticadeEuropa Barcelona: MuseuNacionald’Art deCatalunya. Crónica delantifranquismo . Berlin: DeGruyter. Spiegel,Post,Washington New York The The Boston: Publishing. Cornhill Translated by Codex escurialensis. EinSkizzenbuch aus , vol 9, p. 153-175. El abusodelpoder. 2 volumes. Vienna: Alfred Hölder. Crònica del’antifranquisme aCatalunya, , by Jordi Coca(2016); Història delaCultura Catalana, Barcelona: Edicions 62. Crónica delantifranquismo. Temps d’amnistia Vol. X. Barcelona: Ed. 62. DOI: 10.31009/cc.2019.v7.i12.01 Barcelona: El Viejo Barcelona: Octaedro. , by Fernando Jáuregui El abusodelpoder Temps d’amnistia, CIRLOT, Victoria; Aby Warburg– Història dela (Castellet et . Barcelona: (p. 25-38).

Paris: vol. VI , by , by by by 21 Vol. VII Article comparative cinema No. 12 VICTORIA CIRLOT 2019 The pathos formulae and their survival https://orcid.org/0000-0002-0203-4576 cultura basata suunateoríadell’espressione. Engramma dei gesti. LamortediOrfeo diDürereillavoro diWarburgsullastoria della 28th 2019] http://www.engramma.it/eOS/index.php?id_articolo=1619 WEDEPOHL, Claudia (2014). cc.2019.v7.i12.01 survival. How to quote Berlin:Akademie Verlag. Frührenaissance. University Library of theUniversity of Heidelberg. Republished in: Schulmänner inHamburgvom 3. bis6. Oktober1905 achtundvierzigsten Versammlung deutscher Philologen und Frührenaissance, Untersuchung überdie Vorstellungen von derAntike inderitalienischen (1893) (1888). (2012). (1914). (1906). Comparative Cinema Comparative Sandro Botticellis «Geburt der Venus» «Geburt Sandro Botticellis und «Frühling». Eine Dürer und dieitalienische Antike. Verhandlungen der Der Eintrittdesantikisierenden IdealstilsindieMalereider Die Typen derBrancacci-Capelle. Der Bilderatlas Mnemosyne. Dieter (ed.), (1889-1914) (p. 77-161). Torino: NinoAragno. Opere, I. LaRinascita delpaganesimoanticoealtriscritti nel primoRinascimentoitaliano. Botticelli. Un’indagine sullerappresentazioni dell’Antico spiritalia 1 Dieter (ed.), der Antike inderitalienischen Frührenaissance «Frühling». EineUntersuchung überdie Vorstellungen von altri scritti(1889-1914) Maurizio (ed.), (1889-1914) Opere, I. LaRinascita delpaganesimoanticoealtriscritti pittura delprimoRinascimento. scritti (ed.), spiritalia 1

CIRLOT, Victoria(2019). (1979b). (2004b). (1979a). (2004a) (2004d). (2004c). Opere, I. LaRinascita delpaganesimoanticoealtri Hamburg-Leipzig: L. Voss. Republished in: (1889-1914) (p. 403-424). Torino: NinoAragno. Published in: (p. 11-64). Baden-Baden: Valentin Koerner. (p. 125-135). Baden-Baden: Valentin Koerner. I tipidelacappella Brancacci. Ausgewählte Schriften und Würdigungen Saecula (p. 583-684). Torino: NinoAragno. L’ingresso dellostileidealeanticcheggiante nella Sandro Botticellis «Geburt der Venus» «Geburt Sandro Botticellis und Ausgewählte Schriften und Würdigungen Saecula Dürer und dieitalienische Antike. Dürer el’Antichità italiana. La nascita di Venere eLaPrimavera diSandro Opere, I. LaRinascita delpaganesimoanticoe Dalla Pathosformel all’Atlante dellinguaggio , Vol. VII, No. 12, pp. 7-21. DOI: 10.31009/ (p. 17-48). Torino: NinoAragno. The pathos formulae and their their and formulae pathos The Edition by Warnke. Martin GHELARDI, Maurizio (ed.), Published in: GHELARDI, Maurizio (ed.), DOI: 10.31009/cc.2019.v7.i12.01 GHELARDI, Maurizio , 119. Retrieved from: (p. 55-60). Leipzig: GHELARDI, [access: January WUTTKE, . WUTTKE, Vol. VII comparative cinema Luis Vives-Ferrándiz No. 12 2019 Sánchez Pathos in Catalonia: the 22-37 politics of images in the era of memes This article focuses on the study of two contextualized images within Catalonia’s process of independence in order to analyze the role of the visual tradition in contemporary political scenarios. The presence of emotions and pathos in some symbolic images linked with the October 1 referendum brings up to date the intellectual legacy of Aby Warburg and his notion of Pathosformel, as applied to the study of contemporary visual culture and Internet memes.

Keywords PATHOS REFERENDUM EMOTIONS ABY WARBURG CATALONIA MEME

Date of reception: 01/05/2018 Date of acceptance: 10/10/2018

Luis Vives-Ferrándiz Sánchez Doctor in Art History from the Universitat de València, where he currently works as a teacher and researcher. His main lines of research focus on the topic of vanitas in the sphere of baroque culture, as well as his expansion on the field of contemporary visual culture under the perspective of the neo-baroque. He has also carried out studies on theoretical reflections on the image and visual culture in postmodernism, and the way in which they affect the practice of the History of Art. His most recent research has explored the use of the photographic image as an ideological and identity element, the study of new scopic regimes and contemporary iconoclasm.

https://orcid.org/0000-0002-3885-5499 DOI: 10.31009/cc.2019.v7.i12.02 23 Vol. VII Article comparative cinema No. 12 LUIS VIVES-FERRÁNDIZ SÁNCHEZ 2019 Pathos in Catalonia: the politics of images in the era of memes https://orcid.org/0000-0002-3885-5499 national aspirations of Catalonia state that would fulfill thehistorical nation to demandsfor anindependent within theframework of Spainasa went from callingfor self-government self-determination process, sinceit prompted theacceleration of the unconstitutional.judgement This of inthisdocumentto articles be of Spain)declaredCourt aseries Tribunal Constitucional (Constitutional of Autonomy). However, in2010the 2006 in Catalonia that was expressed inits the desire for greater self-government more immediate originsare found in at achieving self-determination. Its refers to thepoliticalactions aimed abbreviated inCatalan asthe Catalonia’s constituent process, application of constituent legality levels of self-government andthe presence inSpain, maintainingexisting groups that defend Catalonia’s are theunionist orconstitutionalist DA CAL, 2017: 3-6), against which there (FORTI, GONZÁLEZ I VILLALTA, UCELAY- in Catalonia’s transition to nationhood referendums infavor of independence the different events, plebiscites, and pro-sovereignist group that supports talk aboutapro-independence or Government. Inthiscontext, analysts was declared illegal by theSpanish in theCatalan crisis, given that it been oneof themost heated points towards independence, andwhich has was designedto endorse theroute was held onOctober 1st 2017that the One ofevents themost important in October 1st 2017 What has becomeknown as Don’t want to fight, don’t want to die procés Estatut d’Autonomia Lift me upandtake me outof here was whenareferendum Just want to hearyou cry. Arcade Fire, I cantaste thefear (Statute Intervention procés 1 . , developed around thepoliticalimages complexity of thevisualculture that to helpusunderstand thedepth and in apoliticalcontemporary event and date themeaningof theseformulas intendsthis article to bringup-to- studied by Aby Warburg. Therefore, formulas that were defined and an emotion that updates thepathos a kindof gesturality andrepresent the October 1st referendum that show to study two images linked directly to culture. The purposeofis thisarticle narrative andwhich make upitsvisual amateur, propagandistic orcounter- official oralternative, journalisticor brought withthemimages that are the different episodesthat have shaped BUESO, 2017). (SÁNCHEZ-CUENCA 2018; CANO control andspread (or even censorship) images (MITCHELL, 2013)inwhich their conflicts live anddevelop asa war of based ontheconcept of memory. problematic of thepathos formulas on theInternet, gesturality andthe also studies thelinkbetween memes gesturality they contain. The article generating new meaningsfrom the on theInternet withtheintention of intoturned memesthat circulated these images were reformulated and stopping thereferendum. Inaddition, the national policewhenitcameto to denouncetheexcess force usedby Òmnium Cultural onvariousplatforms video results and, ontheother hand, the Republic of Catalonia after thevoting witnessed thebrief proclamation of the shows thereactions of people who and publishedinthepress, which Iván Alvarado, from theReuters agency is aphotograph by photojournalist of the The referendum, aswell asthe A lot of contemporary political Iconomachy 2.0 procés Help Catalonia procés (andwhich still do), have . Ontheonehand, there DOI: 10.31009/cc.2019.v7.i12.02 disseminated by 24 Vol. VII Article comparative cinema No. 12 LUIS VIVES-FERRÁNDIZ SÁNCHEZ 2019 Pathos in Catalonia: the politics of images in the era of memes https://orcid.org/0000-0002-3885-5499 group of riot police placing Federico Borrell infront of a referendum day onOctober 1st by the excessive policeforce usedon ( Capa photograph of of thefamous Gerda Taro andRobert The Telegraph other hand, thecartoonist Blower, in the combative protagonists in which Rajoy andPuigdemont are de laGuerra Civil Premonition of CivilWar and publishedacartooninspired by might lead to real warring conflict, Guardian Rowson,Martin acartoonist for day of thereferendum. For instance, what happened inCatalonia onthe used by themediain order to explain iconicwar imagescertain have been procés views inany conflict. Inthecase of the to express andcompare political anddifferentof art visualtraditions images that are taken from thehistory and describesthewide, diverse array of “war of images” ispurely metaphorical values, andconcepts. The expression is key to thetransmission of ideas, because they act asrhetorical easily recognizable examples and becauseartists they are symbolic, history, andthey are invoked by the in Spain’s visual, cultural andidentity citizen liftingaballot box to vote police officerwithabaton armed a and though changing thecharacters to a during theOctober 1st referendum, to portray theviolence that took place Fight withCudgels ( Martín also served astheinspiration for Ferran pro-independence Catalan flag who isaboutto eat awoman wearing a God withalarge national policeofficer a sushijos Devouring HisSons Rowe, opted to adapt Goya’s Financial Review Muerte deunmiliciano These examples are established , itshould bepointed outthat El Jueves , understood that the ) (Fig. 1), while replacing the newspaper, madeuse ) by Salvador Dalí ) by SalvadorDalí cartoonist, David magazine), whoused ( 3 ( Duelo agarrotazos . Saturno devorando The FallingSoldier The Australian ) to illustrate ( Premonición Premonición 2 . Onthe Saturn Saturn procés 4 . Goya The The 5 .

)

potential that theseimages possess. event basedontheepistemological made to speakaboutacontemporary up asventriloquist dolls which are Capa’s orDalí’s works are summoned problems (BAL, 2016). Thus, Goya’s, images act asinterlocutors for our between thetwo periods. The past in history that attempts to build alink meaning to thepresent inanexercise examples, thepast isusedto give 106). Besides, intheseaforementioned symbolic rationale (BOEHM, 2011: 87- can shapemeaning, basedontheirown on theirabilityto act asagents that an epistemological role that isbased documentary, journalistic...), perform and regardless of theirnature (artistic, of thevisual twist of postmodernism, use shows that theimages, asaresult depict a contemporary event. Their re- frameworks that canbeadapted to existence, makes upwhat isknown and study dueto itsbreadth andbrief and, at the sametime, hard to control which isextremely heterogeneous Catalan crisis. This ensemble of images, political viewpoints inplay inthe express andtransmit thedifferent battlefield sinceitcanbeused to Therefore, web 2.0 isa(metaphorical) have already beenputinto circulation. of memes, ordistribute theonesthat procés condemnatory images related to the can eithercreate comical, satirical or (MARTÍN, 2012). Withweb 2.0, users and popularized untilthey becomeviral to generate contents that are spread the users of theseplatforms are able 2.0. The maintrait of web 2.0 isthat which define what isknown asthe web YouTube platforms such as created, shared andspread on conglomerate of images that are share aspaceintheheterogeneous media ortheofficial propaganda in which images from thepress, the place withinacomplex mediascenario Additionally, the andproliferate themin theform , Instagram DOI: 10.31009/cc.2019.v7.i12.02 Facebook or procés WhatsApp hastaken , Twitter , and , comparative cinema comparative

FIG 1 After Goya – Saturn Devouring His Son… (David Rowe, The Australian Financial Review, October 1st 2017)

FIG 2 Joyful reactions to the declaration of independence and disappointment when it was placed on hold (Iván Alvarado, Reuters, October 10th 2017)

25

FIG 3 Iconographie photographique de la Salpêtrière, Plate 23: Attitudes passionnelles: Extase (Désiré-Magloire Bourneville and Paul Régnard, 1878) Article SÁNCHEZ VIVES-FERRÁNDIZ LUIS memes of in the era images the politics of in Catalonia: Pathos 2019 No. 12 No. Vol. VII Vol.

https://orcid.org/0000-0002-3885-5499 DOI:DOI: 10.31009/cc.2019.v7.i12.02 10.31009/cc.2019.v7.i12.01 26 Vol. VII Article comparative cinema No. 12 LUIS VIVES-FERRÁNDIZ SÁNCHEZ 2019 Pathos in Catalonia: the politics of images in the era of memes https://orcid.org/0000-0002-3885-5499 the referendum would lead to the on thestreet to seeiftheresults of of expectant citizens hadgathered the Catalan Parliament), thousands the Palau delParlament (Palace of was takingplacewithinthewalls of republic acknowledgement of thenew Catalan Government that would lead to the call for adialogue withtheSpanish of independenceonhold, inorder to to placetheunilateral declaration since thepresident himself took care 1st referendum, lasted just 56seconds, state, which emerged after theOctober Catalonia. The existence of thisnew the independenceof theRepublic of from withintheparliamentbuilding, Government), unilaterally proclaimed, Generalitat deCatalunya (Catalan Puigdemont, president of the maenads andpathos inthereferendum procés the politicalidentitiesincludedin articulate, reinforce, andquestion as mediaculture anditserves to Mundo the front pages of newspapers like Both photographs were spread across declaration having beenplacedonhold. other shows thedisappointment at the of thepeople gathered there, while the photograph shows thejoyful reaction parliament ongiantscreens proceedings of theplenary sessionof in thestreet whowere following the the independencesupporters gathered which showed thechange inmoodof next to theother like adiptych (Fig. 2), it was two photographs, arranged one Companys inBarcelona.Lluís Actually, agency Reuters, onthePasseig de Alvarado, aphotographer from the hours anddays was taken by Iván effect andexposure inthesubsequent of theimages that hadthegreatest proclamation of anew state. One On October 10th 2017,On October 10th Carles The diptych of thepassions: (KELLNER, 2011). or 6 . While thisbrief declaration ABC intheirOctober 11th 7 .first The El

and gesturality. Warburg said: complex process that affected memory visual formula, itreferred to amore Antiquity wasn’t just there-use of a In Warburg’s view, thissurvivalof could becomeavictorious David. or asculpture of athreatened Niobid take theplaceof aMaryMagdalene, where amaenadfrom Antiquitycould especially in15th-centuryFlorence, were reused andreinterpreted later on, state of ecstasy. These pathos formulae and inreliefs featuring maenadsina culture, mainly instatues like Laocoön, resources, were found inclassic emotions orsuffering through gestural formulas of theexpression of pathetic pathos formulae, propagated asvisual DIDI-HUBERMAN, 2013: 172-201). The images (GOMBRICH, 1986: 177-185; last projects onthesocialmemoryof remained preoccupied withituntilhis the reliefs at theParthenon, andhe ever sincehisearliest research into the figure of amaenadand revived an contained inherface, sinceitevoked images thanks to thepathetic emotion has beenleft boundto thehistory of figure inthisdiptych of thepassions it hasbeenplacedonhold. The female grimace of pathos whenshehears that proclamation, andinthesecond, witha raisedher arms at themomentof the of therepublic: inthefirst one, with emotions following thedeclaration and encapsulated on herface two woman inawhiteexpressed shirt history inthewestern visualtradition. expressive formula that hashadalong contained inthemalsoalludesto an existed. However, thegesturality in which the Republic of Catalonia experienced duringthe56seconds extremely differing emotions that were editions, sincethey summarized the in what becamecalled Aby Warburg hadbecomeinterested old pathos formula. historianThe art In thecenter of both images, a “It isinthe zone of orgiastic DOI: 10.31009/cc.2019.v7.i12.02 Pathosformel

27 Vol. VII Article comparative cinema No. 12 LUIS VIVES-FERRÁNDIZ SÁNCHEZ 2019 Pathos in Catalonia: the politics of images in the era of memes https://orcid.org/0000-0002-3885-5499 gestures andpathetic formulas which procés introduces into thecontext of the is conserved inmemory. The photo in amassevent withagesturality that expresses themaximumouter shudder maenad inourpassionate diptych Alvarado’s photograph, sincethe nowadays ifwe compare themwith formulae resonate surprisingly reliefs andFlorentine drawings of the at thefoot of thecross inpaintings, were usedto depict MaryMagdalene be found intheclassicmaenadsthat expressiveness of the face) canalso same gesturality (withtheadded raised (DIDI-HUBERMAN, 2007). That formula inwhich andeyes arms are the passionate attitudes towards a ancient gesture (Fig. 3)which translates hysterical 151-181). Charcot’s photographs of the mystical visionaries(STOICHITA, 1996: soul withthebeatified smile and hope (RIPA, 1996: 355)– theblessed 65-66), or iconographic expressions of formulas of praying (BARASCH, 1999: gazing upat thesky the womanraised withherarms and and warlike visualculture. The motif of are furthermore anchored to areligious Warburg’s ideasandthepathos into gesture language, with as they canbetranslated transports of emotion, asfar movements of theextreme upon thememoryexpressive look for themintwhich stamps mass-seizures that we must 245). (WARBURG inGOMBRICH, 1986: in theartist’s creative handiwork” movement desire to cometo light maximal valuesof expressive by theartist’s handassoon determining theoutlinetraced They becometheexemplars, heritage stored inthememory. suffering passionsurvive asa engrams of theexperience of such intensity that these apathos formulae that adds Augustine alsoexplore this 8 evokes theold tilted andhermouthishalf-open. In formulae: asinLaocoön, herheadis expresses thepainof atypicalpathos towardsbut turned herandface fallen slightly, herhandsremain open ofThe arms theCatalan maenadhave intensely inthephoto ontheright. photograph ontheleft, pathos isshown Along withthismotif, expressed inthe the meaningtowards lamentation. by Nicanor Vázquez Ubach, whoguides de batalla this gesture, andthe Guernica War this gesturality is reused (CABELLO, formula that isdragged inevery time emotional charge andtheiconographic as there isanimbrication between the separate the shapefrom thecontent, in the these references to make itclear that in Alvarado’s photograph. Iamquoting appear, by chance or spontaneously, legibility between theseimages which an iconographic continuity orasemiotic dictionary that proves theexistence of as agenealogyof images noravisual mentioned are not intended to serve passions (Fig. 5). on boards asakindof polyptych of the his patients, andwhich were presented electrical stimulation inthefaces of Boulogne triedto reproduce using that doctor Guillaume Duchenne de pathos formulae through gesture codes and half-open mouthsexpress the whose tilted heads, lost expressions republic, like theoneof theNiobids, holding of theproclamation of thenew dejection anddefeat because of the this case, she produces agesture of in thepainting added, such astheallegory of Europe raised inwar arms contexts could be examples, althoughother women with of theformula isevidenced withthese 1937: 70-71). The polarityandversatility andadisheveledarms face (WIND, centuries,15th and16th withraised These references that Ihave just by Rubens (Fig. 4), thefigure in Pathosformel by Picassowhich reproduces (“Woman onabattlefield”) The Consequencesof DOI: 10.31009/cc.2019.v7.i12.02 itisimpossible to Mujer en un campo Mujer en un campo comparative cinema comparative comparative cinema comparative

FIG 4 Consequences of War (Conseguenze della Guerra, Peter Paul Rubens, 1637-1638)

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Iconographie photographique de la Salpêtrière (Jean Martin Charcot, 1878) Article SÁNCHEZ VIVES-FERRÁNDIZ LUIS memes of in the era images the politics of in Catalonia: Pathos Article CIRLOT VICTORIA and their survival formulae The pathos FIG 5 Le Mécanisme de la Physionomie Humaine, Plate 8 (Guillaume Duchenne de Boulogne, 1862) 2019 2019 No. 12 No. Vol. VII Vol. No. 12 No. Vol. VII Vol.

https://orcid.org/0000-0002-3885-5499 DOI:DOI: 10.31009/cc.2019.v7.i12.02 10.31009/cc.2019.v7.i12.01 29 Vol. VII Article comparative cinema No. 12 LUIS VIVES-FERRÁNDIZ SÁNCHEZ 2019 Pathos in Catalonia: the politics of images in the era of memes https://orcid.org/0000-0002-3885-5499 images (CABELLO, 2017: 146-147; DIDI- avatars of emotions mediated by question regarding thetemporal decoded), they poseananthropological if they were ahieroglyph that could be establish theirlegibility insemiotics (as culture works of certain to others or of ahistorically-transmitted artistic before they submitto thereferences or influencemodels. The cannot bebasedonlogical continuities go through timeinadevelopment that are transiconographic formulas that defines the aforementioned references. What in themeaningshighlighted inthe and gesturality represented drag lies, sincetheemotional charge gesture includedinAlvarado’s diptych is whereof the theimportance (BIALOSTOCKI, 1973: 111-124). This law of gravity, towards anew image dragged in, by of iconographic asort the elements of originalmeaningare compositional formula impliesthat which suggests that thereusing of a concept of encompassingthemes, withhis warned of thisparticularity 2013: 181). Jan Bialostocki also 2017: 151-154; DIDI-HUBERMAN, The lifted in theleft-hand arms express theemotions of anuprising. images of apoliticalmovement that both possibilitiessincethey are 151-154). Alvarado’s diptych includes suffering (DIDI-HUBERMAN, 2017: for pathos formulae associated with insurrections infavor of hispreference the gesture formulas associated with thatconfirmed Warburg disregarded define politicaluprisings, andhehas gesture formulas that accompany and hasanalyzedDidi-Huberman the disappointment at itssuspension. the republic, andontheother, the hand, thejoy at theproclamation of dialectic of raising andfalling: onone contains thementalandbodily of a particularity HUBERMAN, 2017:62). Alvarado’s diptych hasthe Pathosformel Pathosformel Pathosformel isthat they that , Bosch, thereby establishing adialogue individuals inspired by apaintingby emotional expressions of agroup of confronts thespectator withthe related to thevisual tradition of people the police. The propaganda videois between thereferendum voters and and whonarrates the confrontations her eyes (Fig. 7)anda choked-up voice, who speaks to thecamera withtears in titled the day of thereferendum. The video, and theGuardia Civil(CivilGuard) on the excessive force usedby thepolice 1st referendum, andwhich showed by ÒmniumCultural after theOctober one containedinavideodistributed from thecontext of the resources express emotions (Fig. 6). he explores theway inwhich gesture physiognomic compendiuminwhich visual treatise onthepassionsanda moving pictures that function asa in alot of hisworks. Viola’s videosare faces, atechnique that Viola repeats they show painandemotion ontheir the protagonists’ features change when (in super-slow motion) theway inwhich (DÍAZ, 2008: 296-298). The video shows the rhetoric of affects invideoart between past andpresent by updating in change theirexpression. For instance, because they feature faces which within very similarparameters, the expression of emotions operate sequence. Bill Viola’s videoworks on to sadness, by way of cinematographic changes onaface that moves from joy beginning andendof theemotional other. This placementshows the of gesturality placedonebesidethe two moments inthetransformation chronophotography inwhich we have to function asanEadweard Muybridge causes Alvarado’sparticularity diptych disappointment at thedefeat. This right-hand image expresses painand proclamation, while thegrimacein photo convey hopeandjoy at the The Quintetof theAstonished Another noteworthy pathos gesture Help Catalonia DOI: 10.31009/cc.2019.v7.i12.02 9 , stars awoman procés is the isthe , Viola 30 Vol. VII Article comparative cinema No. 12 LUIS VIVES-FERRÁNDIZ SÁNCHEZ 2019 Pathos in Catalonia: the politics of images in the era of memes https://orcid.org/0000-0002-3885-5499 This fact doesn’t seem fortuitous, given the protagonist of the the protest videofeature awoman as the same gestures inthemediacontext of imply thecontemporary useof these and 249-251), awarningthat could well gesturality (GOMBRICH, 1986: 180-183 that themediaof histimemadeof and especially thesimplification traditions duringtheBaroque period, that was gestural madeof certain pointed to theseproblems intheuse that he hasinhishands. Warburg fails to make good useof thelegacy empty and sensationalist iftheartist the oneinvideocanenduplooking intense physiognomic expression like they canoverride themeaning. An of gestural rhetorical excesses, since Warburg himself warnedof thedangers that is disconnected from real emotion. actress) andagestural inflammation of dramatized pathos (sinceshe’s an natural, what isdisplayed isanexcess However, far from beingemotionally eyes (DIDI-HUBERMAN, 2017: 104). in tears whocallfor justice withglassy new president a global scale, themandate of the on theplatform House, decidedto openanaccount official photographer at the White States in2008, Pete Souza, the election aspresident of theUnited in politicalcontexts. After hisfirst of theuseof emotional formulas represents ahighly originalexample and MaryMagdalene. pathos formulae, such asthemaenads women are alsothemaincharacters in 390). Inthetradition history, of art and suffering (DIDI-HUBERMAN, 2017: activate thegestural formula of pain photographs, women’s figures tend to process: inEisenstein’s filmsandin war to corporeally channel thepathos that itisthegender Barack Obama’s presidency Both Alvarado’s photographs and procés . 10 . From the thousands Flickr par excellence to show, on Pathosformel

. social mediaisparadigmatic of the 516). The caseof Barack Obamaand events (VIVES-FERRÁNDIZ, 2012: 501- reactions inthepeople attending his sacred personage whocauses emotive is shown almost asamessiahor and politicalsphere, given that Obama religious connotations into thepublic is oriented towards theintroduction of of their idols(Fig. 9). The useof pathos reaction by agroup of fans to thearrival of religious ecstasy (Fig.8) orto the gestures with raised anddramatic arms images reproduce emotive formulas the streets duringhisofficial trips. The Obama’s meetings orwaited for himin general publicthat attended Barack especially intheimages taken of the emotional formulas or pathos formulae, platform we canfindtheuse of of photographs uploaded onto the contained a counter-narrative, or web 2.0. Alot of theseevents have characteristic mediacontext: the of the the images generated by theevents emotions andmemory FERRÁNDIZ, 2014:185) reinforce this Reese Witherspoon –doesnothing but George Clooney, MerylStreep and such asRobertdeNiro, Tom Hanks, several of hisofficial photographs– presence of Hollywood actors in reactions. Inaddition, thefrequent presence incites theaforementioned Hollywood’s star system, andwhose as someonewhobelongs more in why Obamaissometimes presented into politics. Fame culture explains celebrities have becomeinserted which elements of fame culture and characteristic of thelast decadein 2015: a270), aphenomenonthat is (OLIVA, PÉREZ-LATORRE, BESALÚ, spectacle or As Imentionedat thebeginning, Internet memes: gesturality, procés 11 that look more like astate celebritication are situated inavery celebritication DOI: 10.31009/cc.2019.v7.i12.02 12 . of politics (VIVES- comparative cinema comparative

FIG 6 The Quintet of the Astonished (Bill Viola, 2000)

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FIG 7 Help Catalonia (Òmnium Cultural, 2017) Article SÁNCHEZ VIVES-FERRÁNDIZ LUIS memes of in the era images the politics of in Catalonia: Pathos

2019 No. 12 No. Vol. VII Vol.

https://orcid.org/0000-0002-3885-5499 DOI:DOI: 10.31009/cc.2019.v7.i12.02 10.31009/cc.2019.v7.i12.01 32 Vol. VII Article comparative cinema No. 12 LUIS VIVES-FERRÁNDIZ SÁNCHEZ 2019 Pathos in Catalonia: the politics of images in the era of memes https://orcid.org/0000-0002-3885-5499 analyzed thecultural material that is on thestudy of genes, memetics generations. While genetics isfocused be transmitted orreplicated between refer to cultural information that can generation to another, thenmemes material that istransmitted from one genes. Ifthelatter refer to thegenetic about memesasbeinganalogous to book scientist Richard Dawkins in1976his concept. in memes, memoryisafundamental the reactivation of pathos formulae and guarantee theirreuse. Inboth cases, in gestures inthe successful meme, inthesameway that gesturality isthebasisfor creating a In theseexamples, we canseethat all kindsof humorous situations emotions depicted inthemto create memes which took the gesturality and Catalonia Alvarado’s photography andthe quickly andeasily. Inthiscase, both satirical images that canbecirculated views onpoliticsandidentitythrough memes inwhich users express their alternative story, driven by Internet name from Dawkins’ vocabulary, since 2006: 192). AnInternet memegets its [...] canbecalled imitation” (DAWKINS, from brain to brain viaaprocess which or eggs, then memesdoitby “leaping that ifgenes are spread through sperm generations: capable of beingtransmitted between Dawkins’ controversial ideaclaims The term “meme” was coinedby (DAWKINS, 2006: 192). if Iabbreviate mimemeto meme” classicist friendswillforgive me sounds abitlike ‘gene’. Ihopemy but Iwant amonosyllable that from asuitable Greek root, of cultural transmission, oraunit conveys theideaof aunitof new replicator, anounthat The Selfish Gene The Selfish imitation “we needanamefor the video becametheobject of Pathosformel . ‘Mimeme’ comes . Dawkins spoke are what Help Help 13 . gesturality to maintainorempty itof lies inmaking useof animage’s Warburg’s engrams, sincetheirsuccess 260-282; PINOTI, 2016: 417-431). reactivation intime(GOMBRICH, 1986: fundamental to itscontinuityand so thegesturality containedinitis primitive corporeal reactions, and engram isasymbolized remnant of original meaningormodifyingit. The be downloaded, maintainingtheir persist inthesocialmemoryandcan words, inthetradition of images, they each periodthat itisreused. Inother “mneme” andwhich isreactivated in pattern that hasendured inthesocial engram alludesto thecompositional derived from classicsarcophagi. The Raphael inthe Vatican halls, allof them the sametimeimitates afragment by depicts Marcantonio Raimondiengraving that French artist’s paintingdraws from a l’herbe used inrepresentations of different memory andtheexpressive formulas respectively, to thesocialsymbolic “engram” from thetwo authors to refer, borrowed theterms “mneme” and Aby Warburg’s thinking. Warburg centurywhich heavily influenced 20th Hering andRichard Semonintheearly series of studies carried outby Ewald smartphones. itself between users, computers and similar way, reproducing andcloning that is spread between users inavery meme owes itsnameto theimage generation to generation, theInternet that is transmitted andspread from basic unitof cultural information had studied. Ifamemerefers to the transmission that the Britishbiologist is similarto theprocess of cultural the way itspreads through theweb study of Manet’s painting, example of anengram isWarburg’s times, the Dawkins’ ideasare very similarto a Internet memesfunction like , inwhich hepointsouthow the The Judgment of Paris Pathosformel DOI: 10.31009/cc.2019.v7.i12.02 . classic The Déjeneur sur Déjeneur sur , which at FIG 8 Audience members listen as President Barack Obama delivers remarks at a reception in Atlanta, Ga., March 16, 2012 (Official White House Photo by Pete Souza) comparative cinema comparative

FIG 9 May 23, 2011 “I can still hear these Irish girls screaming, ‘Barack! Barack! Michelle! Michelle!’ It reminded me of the old black and white video footage of American girls screaming at the 33 Beatles in concert. These girls were cheering as the President and First Lady took the stage at the College Green in Dublin.” (Official White House Photo by Pete Souza)

FIG 10 Meme shared by @violencevintage on Twitter. Article SÁNCHEZ VIVES-FERRÁNDIZ LUIS memes of in the era images the politics of in Catalonia: Pathos 2019 No. 12 No. Vol. VII Vol.

https://orcid.org/0000-0002-3885-5499 DOI:DOI: 10.31009/cc.2019.v7.i12.02 10.31009/cc.2019.v7.i12.01 34 Vol. VII Article comparative cinema No. 12 LUIS VIVES-FERRÁNDIZ SÁNCHEZ 2019 Pathos in Catalonia: the politics of images in the era of memes https://orcid.org/0000-0002-3885-5499 frequently repeated inthepress andon the totality of anevent, they were they are images that canrepresent images and, therefore, memes: elements to make theminto symbolic point of view, they containedthekey gesturality, butfrom aphotographic not only dependontheircontained Also, thefact that they went viral does to theirhidden gestural potential. materials for into turning amemedue used by thepolice, were theperfect independence, ortheexcess force the publicto theproclamation of emotive reactions of members of when they express thegestural and photographic diptych andthevideo, (G. DEANGELIS, 2016). Alvarado’s and meaningthrough gesturality and encapsulating expressions materials for expressing emotions, 10). Nowadays, memesare theideal humorous orsatirical content (Fig. video canbetransformed to create contained inAlvarado’s photos andthe a Catalan protester. The gesturality intobe turned aChristian figure or already, amaenad’s gesturality can to give itnew ones. AsIhave said its originalmeaning, andinthisway, an economy of images of resistance in speed. Poor images have created loses materiality nature but gains it take precedence; itisanimage that and spread amongtheusers that share easy accessibilityanditscirculation condition. Itisanimage inwhich its by itsbadqualityanddynamic of visualculture 2.0, characterized contemporaneity andpossibilities is akindof image that istypicalof the image” (STEYERL, 2014: 33-48). This what Hito Steyerl callsthe “poor in relation to the as any memethat we could provide made of Alvarado’s image, aswell FROSH andCOHEN, 2017). symbolize andreuse them(BOUDANA, conventions that make iteasierto television, andthey are basedonvisual The varioususesthat have been procés , allfall into images because they make useof the operate usingemotions mediated by other hand, Internet memes also epistemological frameworks. Onthe 2014), andthesearch for alternative from thepast possess(MOXEY, the effects of of postmodernismwhich highlight way isdisplacedby theparadigms use of old visualformulas inasemiotic of givingmeaningorlegibility to the mediated by images are. The possibility temporal complexities of emotions based onaskingourselves what the understanding of that emergence is Obama’s political contexts (the reactivated inimages of different resources andemotions have been gesturalhas beenmadethat certain 111-135). MUNAIN and VIVES-FERRÁNDIZ, 2014: (GONDRA, G. DEANGELIS, LÓPEZ DE also political)views of theseevents platforms to express satirical (but them into circulation onthesesame event andmodify, alter, distort, andput appropriate theimages depicting an a rationale that defines how users the rationale of digitalappropriability, These poorimages, inturn, hinge on spoke of at thebeginningof thispiece. which to fight the war of images thatI are disseminated into battlefields on websites andplatforms onwhich they political leaflet, thereby the turning they were apamphlet, aflysheeta or users seeks to provoke debate asif the circulation of which between the culture that hasdeveloped around depth thecontemporary visual has enabled usto explore ingreater featuring superlative pathos gestures, that madeuseof thefemale faces video, together withthememes photography andthe By way of conclusion The analysis of Alvarado’s procés celebritication . Ononehand, thepoint presence DOI: 10.31009/cc.2019.v7.i12.02 Help Catalonia procés that images ) andthat our and and 35 Vol. VII Article comparative cinema No. 12 LUIS VIVES-FERRÁNDIZ SÁNCHEZ 2019 Pathos in Catalonia: the politics of images in the era of memes https://orcid.org/0000-0002-3885-5499 the views onpoliticsandidentityof the with new meaningssoasto reinforce reformulate themandprovide them gestural potential of theimages to 7/ 7/ [access: April15th2018]. qoKEzL175UNj https://www.youtube.com/watch?v=ZyU213nhrh0&list=TL09a694LmL_WsXIpJcGvk the following link: of thevideo, maintainsthat heis infact DanielDay-Lewis. You canwatch the videoat sentation-within-the-representation reaches itshighpoint whenObama, at theend the originalsoundtrack from themovie portray President Obama, by working onhisaccent, gestures, motivations, etc., while with theon-screen title asDanielDay-Lewis) explains theprocess heusedinorder to playing DanielDay-Lewis asBarack Obama. Inthevideo, Obama(whoispresented played Lincoln. The surpriseerupts whenthe videoshows Barack Obamahimself chosen by thedirector to play therole isDanielDay-Lewis, that is, theactor whohad the role of thepresident. The fields of reality andfiction are confused sincethe actor cided to direct thefilm Steven Spielberg mentionsthat after thesuccess of themovie he confuses hisrole aspresident withthat of theactor DanielDay-Lewis. Director tion inavideothat isshown ontheofficial White Houseaccounton 12/ The most crucial step inthespectacularization of Obama’s image ishisparticipa obamawhitehouse/6599499635/ flickr.com/photos/obamawhitehouse/6599542705/ 11/ 10/ 9/ taken withasharpangle that emphasizes itssymbolic meaning. were looking at giant screens set uponthestreet result inthefact that theimage is 8/ The positionof thephotographer andthefact that thepeople attending theevent April 15th2018]. 6/ 2018]. 5/ 15th 2018]. 4/ 15th 2018]. 3/ 2018]. son-on-spain-catalonia-independence-power-struggle-cartoon 2/ 19Llibre_blanc_Sintesi.pdf ya 1/ The proposals canbeconsulted in https://twitter.com/Telegraph/status/914536533365051392/photo/1 : http://cadenaser.com/ser/2017/10/10/politica/1507663485_341695.html https://www.youtube.com/watch?v=KLCoW_GiXAs https://www.theguardian.com/commentisfree/picture/2017/oct/27/martin-row https://www.ara.cat/2017/10/10/Declaracio_Independencia_amb_logo_-1.pdf https://twitter.com/ferranmartin/status/914631167529426944 https://twitter.com/roweafr/status/914726155059646464/photo/1 http://www.gencat.cat/eapc/revistes/RCDP/Documents_interes/RCDP_54/05_ https://www.flickr.com/photos/obamawhitehouse/8341815158/ https://www.flickr.com/photos/obamawhitehouse/

[access: April23rd 2018]. Obama [access: September 23rd 2018]. , aproject for which hehad to decidewhowould play [access: April23rd 2018]. Llibre blancdelatransició nacionaldeCatalun webspace. procés Lincoln (See originaltexts at theendof thejournal) Translated by Daniela Torres Montenegro that are broadcast onthe2.0 plays inthebackground. The repre

https://www.flickr.com/photos/ [access: April21st 2018]. [access: April23rd 2018]. DOI: 10.31009/cc.2019.v7.i12.02 Lincoln [access: April15th [access: April15th YouTube

https://www. [access: April (2012)hede [access: April [access: inwhich

------36 Vol. VII Article comparative cinema No. 12 LUIS VIVES-FERRÁNDIZ SÁNCHEZ 2019 Pathos in Catalonia: the politics of images in the era of memes https://orcid.org/0000-0002-3885-5499 Nacional d’Art deCatalunya. El ojodelahistoria, 6. arte ytiempodelosfantasmas según Aby Warburg. iconografía fotográfica deLaSalpêtrière. Reichenberger. University Press. 146-163. Didi-Huberman.aura ydolordereminiscenciasenGeorges Anthropos, culture and society, icons todeath: whenhistoricalphotographs becomedigital memes. Media, Salamanca: Ediciones Universidad deSalamanca. de lasimágenes. de lasartes. supervivencia de lasimágenes enlaera del GIF. e-imagen Revista 2.0, Ediciones. estaba allí. Laimagen delrey enlacultura visual2.0. VIVES-FERRÁNDIZ, Luis(2014). Phaidon. (2006-2017) (eds.), y 2017. ¿Qué eselprocés? Sopesar loscambiosenlapolíticacatalana entre 2006 la mirada. Bibliography lo/1507653719_231546.html res-reacciones-las-redes-5284/ https://vozlibre.com/actualidad/la-independencia-los-8-segundos-las-mejo mes-de-la-casi-independencia-de-catalunya/ http://www.publico.es/tremending/2017/10/11/twitter-los-mejores-me cio/video-help-catalonia?utm_term=.gqDmV2NyV#.vcawGkZLG Acompendiumof thesememesat:13/ DIDI-HUBERMAN, Georges (2013). FORTI, Steven; GONZÁLEZ I VILLALTA, Arnau; UCELAY-DA CAL, Enric(2017). DIDI-HUBERMAN, Georges (2017). DIDI-HUBERMAN, Georges (2017). DIDI-HUBERMAN, Georges (2007). DÍAZ MARROQUÍN, (2008). Lucía DAWKINS, Richard (2006). CANO BUESO, Juan (2017). CABELLO, Gabriel(2017). BOUDANA, Sandrine; FROSH, Paul andCOHEN, AkibaA. (2017). BOEHM, Gottfried (2011). BIALOSTOCKI,(1973). Jan BARASCH, Moshe(1999). BAL, Mieke (2016). KELLNER, Douglas(2011). G. DEANGELIS, Marina(2016). GONDRA, Ander; G. DEANGELIS, Marina; LÓPEZ DEMUNAIN, Gorka; GOMBRICH, Ernst (1986). El procesoseparatista enCataluña. Análisisdeunpasadoreciente FORTI, Steven; GONZÁLEZ I VILLALTA, Arnau; UCELAY-DA CAL, Enric Madrid: Akal. (p. 3-6). Granada: Editorial Comares. Barcelona: Barral. GARCÍA VARAS, Ana(ed.), n. 39/8, p. 1-21. Santander: Shangrila. Tiempos trastornados: análisis, historiasypolíticasde [access: April15th2018]. Entre historiadelarteypráctica delasimágenes: Giotto yellenguajedelgesto.Giotto Aby Warburg, An IntellectualBiography. ¿Más alládellenguaje? Apuntessobrelalógica Estilo eiconografía: contribuciónaunaciencia , The sefish gene. Cultura mediática. Estudios culturales, https://verne.elpais.com/verne/2017/10/10/articu Cataluña ensulaberinto Cuando despertó, elelefante todavía Del Atlasmnemosyne aGIPHY: La https://www.buzzfeed.com/guillermodelpala La retóricadelosafectos. Insurreccions. Pueblos enlágrimas, pueblosenarmas. La imagen superviviente. Historia del La invención delahisteria. Charcotyla Madrid: Cátedra. Filosofía delaimagen Oxford andNew York: Oxford Madrid: Abada. Barcelona: Museu Barcelona: Sans Soleil DOI: 10.31009/cc.2019.v7.i12.02 .Valencia: Tirant. Madrid: Akal. Kassel: (p. 87-106). - Reviving Oxford: n. 3. 247, p. 247, p. - - - 37 Vol. VII Article comparative cinema No. 12 LUIS VIVES-FERRÁNDIZ SÁNCHEZ 2019 Pathos in Catalonia: the politics of images in the era of memes https://orcid.org/0000-0002-3885-5499 observation by Reynolds. Journal of theWarburgInstitute, de laesfera digital, barroca delcapitalismo de ficción. Caracteres. Estudios culturales ycríticos poder era delapostfotografía. de oroespañol. Negra. española antelacrisiscatalana. (p. 417-431). Adriano (eds.), política all’epoca dell’internet-meme. Cultura, construcción delaimagen públicadelpolítico. Arbor. Ciencia, Pensamiento Y Celebrificación delcandidato. Cultura delafama, marketing electoral y Barcelona: SansSoleil. present day. de lasredessociales. identidad ypolíticaentrelomodernoposmoderno. MOXEY, Keith (2014). MITCHELL, W.J.T. (2013). MARTÍN PRADA, Juan (2012). WIND, Edgar (1937). WARBURG, Aby (2010). VIVES-FERRÁNDIZ, Luis(2014). VIVES-FERRÁNDIZ, Luis(2012). STOICHITA, Victor(1996). STEYERL, Hito (2014). SÁNCHEZ-CUENCA, Ignacio(2018). RIPA, Cesare (1996). PINOTTI, Andrea (2016). OLIVA, Mercè; PÉREZ-LATORRE, Oliver; BESALÚ, Reinald (2015). Catalonia: the politics of images in the era of memes. of era the in images of ema politics the Catalonia: How to quote (p. 501-516). Castellón: Universitat Jaume I. 191(775), a270. , Vol. VII, No. 12, pp. 22-37. DOI: 10.31009/cc.2019.v7.i12.02

Chicago: The Chicago University Press. Cosenza: LuigiPellegrini Editori. I percorsidell’immaginazione. StudiinonorediPietroMontani Madrid: Alianza. n. 3/1, p. 179-200.

VIVES-FERRÁNDIZ SÁNCHEZ, Luis(2019). Madrid: Akal The Maenadunder thecross. Commentsonan Iconología. MÍNGUEZ, Víctor(ed.), El tiempodelovisual. Laimagen enlahistoria. Los condenados delapantalla. Atlas Mnemosyne. Lareplicanonindiferente. Mossediiconología Cloning terror. The warof images from9/11 to El ojomístico. Visión ypintura religiosaenelsiglo Prácticas artísticaseninternetlaépoca Madrid: Los libros delacatarata. . Yes we Flickr! Imágenes delpoderenla Lagran pantalla delmundo. Lalógica Madrid: Akal. GUASTINI, Daniele andARDOVINO, La confusiónnacional. Lademocracia Madrid: Akal. Las artesylaarquitectura del DOI: 10.31009/cc.2019.v7.i12.02 Madrid: Akal. Buenos Aires: Caja Comparative Cin Comparative n. 1, p. 70-71. Pathos in in Pathos - Vol. VII comparative cinema Isabelle No. 12 2019 Freda Screening Power: Harry Truman 38-52 and the Nuclear Leviathan Harry Truman’s succession to the United States presidency upon Franklin Roosevelt’s death in 1945 thrust an obscure and inexperienced politician into the center of one of the 20th century’s most critical historical moment: the final months of World War II, as the United States was preparing to deploy nuclear weapons for the first time. Truman’s clear unequalness (in both image and substance) to the tasks at hand, in juxtaposition with the epic scale of the tasks themselves, provides a unique exposure of the illusory nature of presidential authority in the Nuclear Age. Using Thomas Hobbes’s Leviathan as a means of delineating the theory and image of political sovereignty, this essay examines three distinct moments from the early days of Truman’s administration that serve to elucidate the absence of presidential power and control that continues to this day to underlie the media apparatus that defines the American presidency.

Keywords AESTHETICS POLITICS COLD WAR U.S. PRESIDENTS NUCLEAR BOMB CINEMA LEVIATHAN

Date of reception: 27/04/2018 Date of acceptance: 15/09/2018

Isabelle Freda Assistant Professor of Film Studies in the Lawrence Herbert School of Communication at Hofstra University. Her recent work has appeared in NECSUS/European Journal of Media Studies, International Journal of Contemporary Iraqi Studies, and New Review of Film and Television Studies. She is the author of the forthcoming Screening Biopolitics: The Cold War, the Modern Presidency, and the Bomb.

https://orcid.org/0000-0001-9809-3900 DOI: 10.31009/cc.2019.v7.i12.03 39 Vol. VII Article comparative cinema No. 12 ISABELLE FREDA 2019 Screening Power: Harry Truman and the Nuclear Leviathan https://orcid.org/0000-0001-9809-3900 stardom. Thrust onto theworld stage Roosevelt’s dozen years of political the lackluster heirto Franklin D. American president Harry S. Truman, story –butnot itsprotagonist –is War (WOLIN, 2008: 28). its totalizing categories” of theCold War IIto the “new power imaginaryand from the “power imaginary” of World Sheldon Wolin hascalled thetransition beginning of the “Cold War”, what of Hiroshima andNagasaki the of thousands of Japanese residents nuclear weapons against thehundreds across thecriticalyears from theuseof of power: three momentsinhistory comprise acrisisintherepresentation inter-related momentsthat together It isinthisspiritthat Iapproach three can markanabyss asmuch asfillone. image, regardless of itssignifyingforce, absent, thereby revealing that the representation: asboth present and subtlety of itsapproach to screen lesson taken upby filmtheory for the as Freud (1899)hasshown us–a NSC 68. national security state formalized by new power imaginaryof thenuclear power dynamicsof theCold War, the that was uniquely revelatory of thenew statea permanent of war, atransition this president duringthetransition to image of politicalsovereignty. Hobbes which isboth atheoryandan of theLeviathan, that figure of Thomas deriving from thecritiqueof thetheory tools of CinemaStudiesandthose is oneavailable for analysis usingthe project for five years – Truman’s story the bowels of thetop-secret Manhattan weapon that hadbeenhidden within even more, thefirst to usethenuclear first president modern after FDRand, President, Truman’s unlikely role asthe only monthsafter hiselection as Vice This isthestory of the The figure at thecenter of this Screens both reveal andhide, Introduction 2 Itisatale told in three acts screening of of 1

Practice decision to usethenuclear bomb. into abiopic-like narrative aboutthe effort to incorporate asittingpresident Norman Taurog), which isuniquefor its ortheEnd Beginning conveyed inthe1947MGMfilm and finally, thecinematic portrait of drawn portraitof Truman onthecover of Hiroshima; second, thestunning deploy thenuclear bombonthecity portrait of Truman’s “decision” to different media: first, theepistolary of popular sovereignty, thepresident. to escapeitslocalization inthefigure liminal momentinwhich power began of thetensions which emerged inthis explicitly –to theHobbesian figure not, subscribe– eitherimplicitly or discipline, whether academicor presidency, inwhatever arena or model of itsapplication. that isboth atheoryaboutpower anda Derrida, and EricSantner Foucault to Giorgio Agamben, Jacques most powerful thinkers, from Michel again inthework of someof our Leviathan figure posited in ThomasHobbes’s the presidency –andpower. of thoseusually charged withstudying an antidote to thedisciplinaryblinkers both spectacle andreception provides or Screen Studies, asitssensitivityto toolkit developed inCinemaStudies president isbest approached usingthe the nuclear age. The screening of the aesthetics”, ifyou will–at thedawn of in theUnited States –its “official the originsofpresidency themodern nuclear age through anexamination of to pryopenthecrypt of power inthe Time Our three moments, inthree Part I: The Leviathan: Theory and Most discussionsaboutthe years,During thepast thirty the This brief analysis seeks to begin ’s 1945 “Man of the Year” issue; hasemerged againand DOI: 10.31009/cc.2019.v7.i12.03 (directed by 3 asafigure The The 40 Vol. VII Article comparative cinema No. 12 ISABELLE FREDA 2019 Screening Power: Harry Truman and the Nuclear Leviathan https://orcid.org/0000-0001-9809-3900 as Foucault callsit, produces a ruse. This of theLeviathan”,“theory frame justification, orpanegyric a is Leviathan, whether asa criticalanalytic version of acinematic star’s narration. a mask–onethatpolitical supports republican body, itwears itsface like Whether itappears asaroyal ora media, still ormoving image regardless. or power. “Power” masquerades across protagonist’s prowess, authority and/ appears to arisefrom the andsupport that improbably, yet satisfyingly, star embedded withinanarrative in ways analogous to that of thefilm to keep thesovereign front andcenter discourse of theLeviathan functions throughout thesocialbody. in which actual power isdispersed legal sense, itobscures theways legitimacy of power inajuridicalor circumscribed question of the itselfconcerns only with thenarrowly the populace. Because thistheory to govern, presumably to protect leader enjoys acontractual right a philosophy, ortheory: themonarch/ of theLeviathan, afigure that isalso and years of civilwar” (BREDEKAMP, the experience of inescapable chaos authoritative answers imaginable to has describedas “one of themost provides what Horst Bredekamp 1651 editionof Hobbes’s mimicked by themassmedia. These narrative frames are, in turn, we have grown to expect –andtrust. in thepersonality-based explanations approaches to thepresidency, resulting structures most academicandmedia star-based approach to power also extra-cinematic narrative today. This orientation that continuesto dominate Hollywood cinemaanditsreception, an narration characteristic of classical which sustains acelebrity-based “star” narration of governmentality, one normative orientation towards the The frontispiece from theoriginal The official discourse of the Leviathan 4 The The 6

5 representation of apre-cinematic co-constitutive, asophisticated a sceneof spectatorship. Itisalso so impressed CarlSchmitt isclearly war. institutionalized state apermanent of in 1947withthesigningof NSC68, during Harry Truman’s administration more, the “Cold War”, inaugurated since 9-11, hasbecomethenorm. Even of office) andthat, as we have seen nearly theentirety of Hitler’s term of emergency” (which characterized fueled hisendorsement of the “state that so fascinated CarlSchmitt and dimension of theLeviathan’s power as istheoften-forgotten temporal and sovereignty islong-standing, Further, thisinterplay of spectatorship protection theLeviathan promises. is alsoaquality ofCold themodern as well: thisrupture oftime normal Leviathan emerges canbetemporal 2018). Shakespearean drama (GREENBLATT, has shown inhisstudy of tyranny in dispense with, asStephen Greenblatt something theleader, ortyrant, can liberal status quoisalso, itseems, Truth, asithasbeenrefined by aneo- but traceable back to Eisenhower. strategy perfected by Ronald Reagan donning thecloak of the “outsider”, a to occupy theOvalOfficeanddoso by be theappeal of thosewhohave sought he must be “outside” to act. This may (and thelaw). As such, heisdecisive: emerges from outsideoftime normal of MussoliniandHitler. The Leviathan encountered theriseof dictatorships Benjamin andCarlSchmitt asthey or “emergency” that intrigued Walter also temporal, the “state of exception” understanding of a “portrait” that is toward. We move closer here to an make upthefigure they are turned suture, asthespectators themselves 2007: 255) The image of theLeviathan that The “outside” from which the 7 andnicely conveys the DOI: 10.31009/cc.2019.v7.i12.03 comparative cinema comparative

The Leviathan (original frontispiece to the 1651 edition)

41 Article FREDA ISABELLE Leviathan and the Nuclear Truman Harry Power: Screening Detail from the original frontispiece of Hobbes’s Leviathan: “Society of the Spectacle” 2019 No. 12 No. Vol. VII Vol.

https://orcid.org/0000-0001-9809-3900 DOI: 10.31009/cc.2019.v7.i12.03 42 Vol. VII Article comparative cinema No. 12 ISABELLE FREDA 2019 Screening Power: Harry Truman and the Nuclear Leviathan https://orcid.org/0000-0001-9809-3900 guaranteed sovereign continuity from themedieval(which effigy trans-temporal figure whosejourney any moment, bemadeintheirname. course militarydecisionswhich can, at ongoing political, economic, andof take responsibility for, thedrastic and to participate inadebate about, and citizens’ situation sustains effectively blunts dialectic of ignorance andfear that this the “button”the “football”.or The he holds theprops of “decision”: president does consult Congress), timeiswhat the weapons because there isnot time to the president’s authority (to usethese spite of thetheorythat undergirds cover” andbombshelters. Yet, in the timeof nuclear war, of “duck and peace. “Time” collapses, asitbecomes dependence) inmatters of war and emotional andpsychological (inlieuofparticipation increased effective displacementof political arsenal of hydrogen bombsandthe the nuclear national securitystate’s consolidation of (secretive) power in War presidency, withitsmassive democracy.” (WOLIN, 2008: 26) abandoned was all talkof participatory and theSoviet Union. […]what was a ‘Cold War’ between theUnited States abandoned after 1945butrecovered as imaginary [of World War II] was not WWII andtheCold War: “[t]he wartime of thistransitional momentbetween position of aspectator. AsWolin writes war. The citizen isrelegated to the leader) for thelaunching of anuclear the Leviathan asadecisive, powerful, “decision” (asprovided inthe theory of president ispresumably thelocus of the new timeof theBomb, asthe presidency isco-constitutive with of popularsovereignty. The modern it, therule of law andthefoundation in theeclipseoftimeand, normal with nuclear national securitystate ends beyond aking’s to mortality) the The Leviathan isatranspersonal, ability , andeven theirdesire, not have, although ground of thepresident’s true position. revealing, ifonly briefly, theabyssal of 1945 untilearly 1946, destabilized image was, for abrief periodat theend equally grotesque, tale) andthat this Nagasaki, butthat isadifferent, but horrifying, weapon onHiroshima (or not “order” or “use” or “drop” thenew, its locus. Myclaimisthat Truman did president asaneffect of power, butnot the representation of thedecisive glimpse into transitional figure that provideda “used” theatomic bomb, was the president, andtheonly oneto have first Cold War “modern” American security state: Harry Truman, the presidency andthenuclear national ofat themodern thetwinned birth crisis inrepresentation andinnarration and Cold War aesthetics, confirming, signpost of presidency themodern Year 1945 postwar period. awareness of ournuclear arsenal inthe in hisexcellent periodization of public again, asPaul Boyer (1985)hasshown up onmomentarily only to submerge effectively rendered invisible, popping become sooverdetermined ithasbeen the powers of war andpeace)has the eclipseof democratic control (over hydrogen andthermonuclearbombs), early momentinits “development” (to death was soextreme that even at this magnitude of thisnew technology of presidential power. Put simply, the the normative “history” of American which hasbeenlost inthemists of seek to recover ahistorical moment and itsmilitary-industrial complex, I of thenuclear national securitystate eclipse underthebiopoliticalpressures between popularsovereignty andits between theold andnew order, What follows isananalysis of a By examining theliminalmoment Time Part II: NoMore Time: “Man” of the ’s 1945cover offers usapotent The Matrix DOI: 10.31009/cc.2019.v7.i12.03 which produces 43 Vol. VII Article comparative cinema No. 12 ISABELLE FREDA 2019 Screening Power: Harry Truman and the Nuclear Leviathan https://orcid.org/0000-0001-9809-3900 and powerful thantheman. On alllevels, thebombismore vibrant hand, isrigid, unaware, withoutenergy. space andtime. Truman, ontheother it violated conventional coordinates of transgressive nature of theweapon as effective graphic representation of the violating Truman’s miniature frame, an “real” cover frame andindepth, the red border of themagazine’s composite extend into andbeyond lightning bolts, fist, andbombblast while, incontrast, thebombdoes: the does not have any accessto thistime, soon, wide-scale television. Truman across thepast decadewithradio and, immediacy which hadbeendeveloping the present –thenew timeof “live” temporal order withnoimpact on is asignof thepast, of, indeed, another that indicates itsbelatedness. Truman Time within thered borders of theminiature conventional one, wholly contained first, that Truman’s portraitisahighly secret foundation. dislocation of power that comprisedits in itsdestabilizing transparence, the place for Roosevelt: friend andfoe. Itreserves aspecial first eliminating allthegreat leaders, asking whomight beManof the Year, post-war world. The story beginsby agency and, withit, thestability of the questions thestability of presidential story, like thecover portrait, radically to doso–yet everything aboutthe the top-secret documentsnecessary indeed, themagazinehad noaccessto ordered thebombdropped –and, did not overtly question that hehad problems (BERNSTEIN, 1977: 1-27). Whatever was dropped onthecityof Nagasaki 1945. Three days later, another bomb on thecityof Hiroshima onAugust 6, The nuclear bombwas dropped Two factors are immediately evident: cover, theframe withinaframe of 1932, 1934, and1941, was “Franklin Roosevelt, Man Time hadwith Truman, it resignation: bomb’s power. Itreturns to Truman, with adequate to thetaskof the harnessing replacement for FDR, and, therefore, hypothetical search for anadequate collapse. of thisparadigm, to thepointof near fails –there isaweakening of theforce the face of sovereignty –even asit attempting, againandagain, to discern you will. While themagazinekeeps months –to define theirorigin, if location?), to theevents of thepast some subjective location (somehuman is aneffort to ascribesomecoherence, The This isanational portraitincrisis. It his own will, becamemore than unwittingly, somewhat against historic accident, somewhat the world” (TIME, 1945). grave at Hyde Park, by mourned indecision. Butnow helay ina days madeblacker by American had nurturedthrough theblack hope andstrength which he final flowering ofAmerican would have beenhisyear –the and planned. Hadhelived, 1945 witness thevictory he hadcharted suddenness before hecould dead, struck down withdramatic the destiny andtheresponsibility mankind, hewas illprepared for the force of apun. Like most of year. Hisvery namehadalmost personified theproblem of the 1945) 32nd President of theU.S. (TIME, meetings. Itwas Harry Truman, food, whiskey-&-water, andlodge bifocal glasses, fond of plain average size andweight, wearing pretensions of any kind, amanof uncurious manwithoutany its future. Itwas anordinary, the bomb, itsusein1945and any other manresponsible for Time “It was noscientist who, by “The Manof the Year story conducts its DOI: 10.31009/cc.2019.v7.i12.03 Time Magazine Cover, December 31st 1945 comparative cinema comparative

44

Poster of The Beginning or the End (Norman Taurog, 1947) Article FREDA ISABELLE Leviathan and the Nuclear Truman Harry Power: Screening 2019 No. 12 No. Vol. VII Vol.

https://orcid.org/0000-0001-9809-3900 DOI: 10.31009/cc.2019.v7.i12.03 45 Vol. VII Article comparative cinema No. 12 ISABELLE FREDA 2019 Screening Power: Harry Truman and the Nuclear Leviathan https://orcid.org/0000-0001-9809-3900 (SONTAG, 1966: 224) any time, virtuallywithout warning.” and extinction which could comeat the threat of [...] collective incineration would spendhisindividuallife under end of humanhistory, every person became clear that, from now onto the has transformed everything, “when it there are intimations that thebomb Leviathan: sixmonthsinto itsrule, complex hadplaced the bombas to say itclearly, themilitary-industrial fifteen years for Dwight Eisenhower the new Leviathan. While itwould take and politicalrelays canbeviewed as institutional, psychological, social, The “bomb” asacomplex network of well, anew flattening of humanity. illegitimacy asaruler); itconveys, as is asignof hisloss of stature (his reverberates onseveral levels: it This designation of an “everyman” most of mankind”, aneveryman. version of thestory, to re-institute the Truman administration to their assert the explanation for the efforts by the examining,is worth asitwillprovide of thedecisionto massacre acity. It read closely, theabyss at theheart The historical record shows, when overshadowed itspurportedmasters. of thenuclear bombontheworld stage next. However secret, theemergence the next, but from oneepoch to the the transition, not only of oneyear to truth from thezeitgeist, asthey marked The editors of the splitportraitanditseditorial frame. Information Act, thetextual basisof made publicthrough theFreedom of the declassifieddocuments eventually on thecityof Hiroshima, we canfind, in which released thefirst atomic bomb historical If wenow turn to examine the He is man”,“true heis “like his shoulders.” (TIME, 1945) the destiny rested awkwardly on He didnot want theresponsibility; which had beenthrust uponhim. minutae Time , theactual process hadgleaned the bomb’s own identityto took over. hesitation andweakness, allowing the ever seenonearth, ameager trail of to themost powerful release of energy epistolary trail of breadcrumbs leading Leviathan. Butfirst we cantrace an authorizing theuse of the bombagainst the test. On July 24, amemoiswritten later – Truman isfinally informed of New Mexico. On July 21–five days day of thesuccessful Trinity Test in arriving inBerlinon July 16, thesame meeting withChurchill andStalin, ship for Europe to attend thePotsdam Truman. of authorship, of decision, by Harry trace of theevacuation of authority, its account, theliteral and metaphoric metamorphosis left initswake: thisis indecipherable, minute textual trail this is inversely matched by thealmost from aking? of The enormity theshift could such amagisterial act not come evidence of anempty throne. How confronted withthedisconcerting chronology of this “leap”, we are Robert Jay Lifton writes: Part III: The Purloined “Order” On July 7, 1945, Truman leaves by If we beginwiththemost spare a few weeks’ time. Whatever by way of war goals thansaving atomic bombachieved nomore patently clear, andpossibly the Even theoutcome of thewar was survival was innoway at stake. compelling necessity. National routine, certainlylacking inany is that the militaryoccasionwas against thosetwo Japanese cities about theuseof atomic bombs (LIFTON, 1982: 195) across thenuclear threshold.” United States back in1945to leap that itdidn’t take much for the decision, there iscommonground the appraisal of theHiroshima “what is especially chastening DOI: 10.31009/cc.2019.v7.i12.03 46 Vol. VII Article comparative cinema No. 12 ISABELLE FREDA 2019 Screening Power: Harry Truman and the Nuclear Leviathan https://orcid.org/0000-0001-9809-3900 merits ourattention before turning, hundreds of thousandsof civilians “author” inthedecisionto slaughter the author, andthefugitive placeof the confirmation, if you will, of the loss of A textual trail provides anepistolary state anditsnew sovereign: theBomb. the Cold War nuclear national security regime to another: from democracy to enough), but thetransition from one only from Roosevelt to Truman (marked actual process of thistransition not the details now available show the the giantRoosevelt. Investigation of tremulous, monthsafter thedeath of suddenly appears to beinthesefirst, as elusive as “presidential authority” on whomorwhat –thesefacts are powerful, top-secret weapon –and United States to drop anew, extremely was given by thePresident of the to establish, such as would presume theeasiest facts of all Yet even themost basicfacts –one These are, asthey say, “just thefacts”. route to theUnited States. While heis the President leaves by shipto return not from thePresident. OnAugust 2, various targets in Japan. The order is journal: and Joseph Stalin, Truman writes inhis negotiations withWinston Churchill struggling withthedifficult Potsdam narrative cinema. through theineffective tools of the to re-assertpresidential “authority” finally, to examine theclumsy efforts On July 25, 1945, while still common welfare cannot drop the leader of theworld for the merciless and fanatic, we as the Japs are savages, ruthless, not women andchildren. Even if and sailors are thetarget and military objectives andsoldiers War, Mr. Stimson, to useitsothat August 10. Ihave told theSec. of against Japan between now and , thecityof Hiroshima isbombed. “This weapon isto beused when theorder en en Composite group […]willdeliver its order iswritten asfollows: “The 509 set upto warnthe Japanese? No. The regarding civilians? Isthere aprocess in hisjournal? Isthere adirective of Truman’s intentions, asindicated the bomborder? Isthere any mention of Staff, USA”. What are thedetails of the Secretary of War andof theChief is “issued to you withtheapproval of from sent to General CarlSpaatz. Itisnot entry, atop-secret order hasbeen Manhattan Project isnot General away. General Groves’ project (the That isthenext day, they needitright dropping of thebomb by August. the President’s statement onthe progressing project (theManhattan Project) is telling himthat General Groves’ is from Secretary of War Stimson, remember –receives atelegram. It 31st, Truman –still inGermany, President. Manhattan project, butnot from the within belly of themulti-billiondollar authorization that hasemerged from bombs, drop thebomband, indeed, multiple It is, inother words, an “order” to soon asmadeready by project staff”. be delivered ontheabove targets as stating that “additional bombswill BUNDY, 1947). The order continuesby targets (quoted inSTIMSON and a list of four cities, allpossible about 3August 1945.” There follows visualbombingafterwill permit first specialbombassoon weather Yet, theday before thisjournal Nearly aweek later, on July (nordoesit 55-56). […]” (quoted inFERRELL, 1980: asking the Japs to surrender will issueawarningstatement a purely militaryoneandwe in accord. The target willbe capital orthenew. HeandIare that terrible bombontheold as soonthey areready so fast DOI: 10.31009/cc.2019.v7.i12.03 refer to that they need ) Truman but , an , an 47 Vol. VII Article comparative cinema No. 12 ISABELLE FREDA 2019 Screening Power: Harry Truman and the Nuclear Leviathan https://orcid.org/0000-0001-9809-3900 we seethat ithasbeenrevised. He’s use. Yet, from Stimson’s telegram public intheaftermath of theBomb’s explanation to beconveyed to the not theorder itself, butthepresidential textual morass, that thisstatement was repeating, for thishistory isamuddy when theBombisused. Itisworth approved astatement to bereleased weight of anew temporality. now almost lost beneath thecrushing the text, such asitis, withlanguage, are moving fast, we must stay with itsauthority –itsspeed.asserts Things secret, anditisthisentitythat now of thegovernment, hasdonesoin which has occupiedevery component president)?This “project”, becoming (and kept secret from himeven after that preceded Truman by five years two-billion-dollar Manhattan Project the Bombhere, theautonomy of the doubt as to thesovereign autonomy of speeding up, outof control. Isthere any some agency, something proceeding, a reference to somekindof entity, missive reads, breathlessly. We sense “proceeding faster thanexpected” the Groves’ any more thanitis Truman’s) is response to Stimson isahastily of (emergency) speed, yet Truman’s any other factor callingfor thiskind is noimpendingattack, invasion or communication hasnocause: there rushed, half-articulated pseudo- Yet the breathlessness of allof this is telegraphic, even for atelegram. “necessary”. Truman’s reply to Stimson Truman, willbereleased assoon The revised statement, not seenby “appreciate [Truman’s] authority”. is atransfer of authority. Stimsonwill require thisemergency action.” There apology: “Sorry circumstances seemto as necessary.” Hecloses withthis not yet seenby Truman] assoon release revised statement [recall, your authority to have White House revised statement: “I willappreciate not sure hecanlet Truman seethe Truman has, itappears, earlier by Stimsonto beasimultaneous the statement isalsounderstood read. The approval of therelease of “by” him–butwhich hehasnot approved the approved astatement, or, no, hehas President hasat some pointearlier consider what ishappening here: the sooner thanAugust 2. HST.” approved Release whenready butnot War. Reply to your 41011suggestions scrawled, asifingreat haste: “Sec. telegram, andontheother sideis on thefront sideof Stimson’s shopping list. “See over” isscribbled than apost-card, abitmore thana traila partial of breadcrumbs, less his secretary, asatext itsstatus is telegram, not adictated message to original telegram: there isnot anew written note onboth sidesof the is indicated inthistelegraphic and The fugitive nature of this “decision” popular sovereignty –democracy. without, by executive authority, security state, not governed from transformed into thenuclear national Groves’ project” –butsoonto be the Manhattan Project, “General – anditsinstitutional support to themechanism –theBomb will becompleted –itisinternal be usedisgoverned by whenit regarding whenthisweapon will appears that thedetermination the Bomb, is, well, the bomb. General Groves’ project, will take placeafter the “release” of yet cannot benamed. It isclearly thedrivingforce of events, the sentence, “Release whenready...” reference: itisliterally absentfrom weapon doesnot meritany proper noted, aswell, that thehorrific new parameters inhisjournal. Itmust be to Truman’s own carefully described deployment, incomplete contrast open-ended approval of theBomb’s Let usstep back for amomentand The “release” of thestatement release DOI: 10.31009/cc.2019.v7.i12.03 in ahurry of astatement . It . It 48 Vol. VII Article comparative cinema No. 12 ISABELLE FREDA 2019 Screening Power: Harry Truman and the Nuclear Leviathan https://orcid.org/0000-0001-9809-3900 about thelack of time: decision; rather, Stimsonwrites again no target, noneof theusualsignsof editing this...). There isstill nodate, statement (andnomentionof his will bepresented withtherevisioned Stimson, delivered by courier. Truman totalitarianism” (2008). what Sheldon Wolin names “inverted War militaryindustrial complex and occurring from democracy to theCold of amassive, multi-layered shift letter, unnoticed, ismerely thetrace see but, like Edgar Allan Poe’s purloined presidential archives, there for allto it isbarely visible, nestled in Truman’s everywhere. What we seehere –and special agent whofollows thepresident launch codeswhich iscarried by a the briefcase or “football” containing button”) which isalsorepresented by as the “button” (his “finger onthe apparatus to become later. There isnot (yet) the in regard to theBomb: thiswillall The illusionof presidential power sentences oreven afull signature. text,partial which refuses complete Ocean Time –indeed, many hours might beready by August 1, Pacific for theuseof thisweapon; thebomb sweeping past both men “responsible” the Bomb: themechanism of decisionis conventional timeinthisnew timeof Truman of This time, Stimsonreminds Truman thenreceives aletter from ( hours aheadof Washington time.” which asyou know isagood many August 1, Pacific Ocean Time, weapon willbeusedasearly as permitting, itislikely that the only yesterday that, weather haste isthat Iwas informed is used[…] The reason for the you assoonthenew weapon has beenprepared for release by the [revised] statement which STIMSON “Attached are two copiesof global time simulate control, , 1945: 181). . Butthere isno such and biopic, even itstitle displays its president: akinto both newsreel the only onewhich portrays asitting nuclear weapons against Japan. a fifty-year periodabout theuse of first of only three filmsmade over film or theEnd the Presidential Auteur: but rather props. and Truman are not protagonists here, not astory of insubordination: Stimson incursion of Truman’s agency have beenunable to read before August2 that the bomb clearly direct onhisscribbled note is the onething Truman hasmanaged to ahead of Washington time. Though the scientists who hadworked onthe a letter sentto DonnaReed by oneof it spawned. The film was inspired by and the “genocidal mentality” which the nuclear national securitystate fiercest and most prolific criticsof Jay Lifton (1982), oneof America’s this film was conducted by Robert history hadto be “repaired”. watershed inAmerican(andworld) in thezeitgeist of thisextraordinary The gapthat national narrative, was alsoat stake. figurative authorship, themaster of the textual field of notes and telegrams; his was eclipsedandsubverted onthe As we have seen, hisliteral authorship author, of this... withallthat itentails. Truman made… adecision, heisthe of power inthis(new) nuclear age: that that of thedecisive president, thelocus history. The narrative beingenforced is representation onethereby changes with totalitarian regimes: to change of propaganda usually associated potent andrare example of thekind confused temporality. a The film is Released inFebruary of 1947, the Part IV: The failed re-assertionof The first in-depth exploration of The Beginning ortheEnd The Beginning

Time should notbedropped , Stimsonseemsto DOI: 10.31009/cc.2019.v7.i12.03 ’s editors discerned The Beginning The Beginning even thistiny . Yet thisis is the isthe 8 It is Itis 49 Vol. VII Article comparative cinema No. 12 ISABELLE FREDA 2019 Screening Power: Harry Truman and the Nuclear Leviathan https://orcid.org/0000-0001-9809-3900 use of theweapon (never mentioning Groves), to bevery upbeat aboutthe end (andafter numerous revisions by narrative arc, thefilmmanages, inthe weapon. Despite thisrather downbeat of radiation exposure whilethe arming weapon onHiroshima yet endsupdying who isambivalent abouttheuseof the narrative followed ayoung scientist as Szilard andOppenheimer. Its called the “activist scientists” such of what journalistWalter Lippman was to provide asympathetic account fromsurmised the extant records, initial purpose, asmuch asitcanbe House script approval. The film’s gave General Groves andtheWhite advice from thesescientists and constructing thisfilm by soliciting completion along these lines. trace itsmovement from inception to viable post-war genre, andwe can problem film” was still considereda for themto turn, asthe “social was not necessarily thewrong place atomic energyonthe world. Hollywood even ahalf millionlives thanunleash that itwould have beenbetter to lose Manhattan Project; itsmessage was the scenethat itreduced therole of the spectator with “access”, would say of But Walter Lippman, anexemplary which hadbeenapproved by Truman. secretary complainedaboutthescene, was shocked by thisportrayal. Truman’s audience (includingWalter Lippman) about itsfuture use. Aselect preview appears to make a “snap judgment” bomb after FDR’s death, and Truman and Stimsoninform Truman aboutthe House. Inthisoriginalversion, Groves that hadbeenapproved by the White of theoriginalversionpart of thefilm “deciding” to drop thebomb, asmall at thisrare visualization of Truman Truman). on Nagasakiwithoutany “order” from the secondbomb, which was dropped My specificinterest here is to look MGM begantheprocess of of Potsdam agreement, that text which power ( replete withtheexpected trappings of The new version was set inPotsdam, out to re-write andthenre-shoot it. (LIFTON andMITCHELL, 1995: 363). which isnow current aboutthebomb” greatly complicate someof thethinking “such amisrepresentation would McCloy responded by that asserting president comical and transparently useless. is, perhaps, inretrospect self-evidently was chosen to replace him. All of this demeanor, andanew actor, Baker, Art deemed “not militaryenough” in original actor, Roman Bohnen, was of theactor whoplayed him. The factorimportant inthereconsideration president’s portrayal andwas an to re-think thenarrative arc of the “decision” caused theWhite House over therepresentation of Truman’s and MITCHELL, 1995: 364) get thegreen light –to useit. (LIFTON bomb to theMarianasand–whenthey I have instructed to theArmy take the decision. States, sir, you could make noother with thisdialogue: and hissecretary, Charles Ross, ending an extended exchange between Truman to “explain” thebombing), andstaged history; aheavy-handed discursiveness was Truman’s inaugural encounter with In response, MGMimmediately set Assistant Secretary of War John Lippman’s extreme discomfort Truman Ross 1995: 363) way.” (LIFTON andMITCHELL, the decisionwas not madethat a powerful weapon. Asyou know, we are not to betrusted withsuch we made that kindof adecision, bound to say that ifthat istheway matter. Seriouspeople abroad are mise-en-scène : As President of theUnited “to extreme“to frivolity inagreat : As President, Icould not. So DOI: 10.31009/cc.2019.v7.i12.03 , thebackdrop 50 Vol. VII Article comparative cinema No. 12 ISABELLE FREDA 2019 Screening Power: Harry Truman and the Nuclear Leviathan https://orcid.org/0000-0001-9809-3900 exception”: theCold War. also not awar, apermanent “state of under theauspices of awar that was the dislocation of power that occurred a sign(however fleeting) of thescale of 1945 hopeless President portrayed onthe apparatus. The listless, static, and presidents withinitsself-perpetuating which would sealthisandallfuture us withuncanny accuracy thecrypt, instability of Truman’s portraitshows them far behind. The momentary will –thenuclear Leviathan hasleft the portraitof theLeviathan, ifyou his representatives) misreading a perfect example of Truman (and narrative, isclumsy andineffective, author effort to re-insertan “auteur”, an is that this day. evaluative modelsof thepresidency to the man, that governs allsubsequent Leviathan’s locus inthepresident, in Yet itisthislogic, thelogic of the presidential agency asthelocus of the assiduously to reinscribe themythof War power apparatus hasworked as hispresidency continued, theCold re-casting of Truman’s own portrait Since then, andbeginningwiththe would besodramatically evident. prove to beoneof thefinaltimesit of presidential control, however, would This brief exposure of theabsence What we seeinthisaccount Conclusion Time , confidently incontrol of the the filmdidn’t matter “Man of the Year” cover was dence between dream andscreen perception, asmuch asthemanner inwhich 1/ Freud’s analysis of screen memoriesisparticularly potent given thecorrespon : the ting thismanuscript. editors, for theirinvaluable assistance comple but rather to solidifytheimage of the this massive dislocation of power, to provide not another revelation of attempt onReagan’s life in1981served was firmly inplace. The fact that the decisive enforcer of order andstability body of thepresident astheLeviathan’s never occuragain. The portraitand absent face/place of power would ensured that such aglimpseof the symbol of strength anddecisiveness of such aself-evident cipherasthe Reagan. The widespread acceptance culmination inthefigure of Ronald than to illuminate thereality behindit. refine theportrait andburnish rather II hasserved to reinforce themask, to technology sincetheendof World War imagination. The proliferation of media American Leviathan onthepopular gham Taylor, aswell asthe I would like to thankmyeditor andfriendBri Acknowledgements really needto understand. distract usfrom thepower structure we or demonizinghim, may serve only to of theindividual, eitherby idolizing focus onthemask, ontheparticulars power hasnot changed, andfixingour trans-personal, trans-temporal locus of changed. The apparatus that isthe that theunderlying truth hasnot Trump, we may dowell to remember the presidential portraitof Donald unstable personality that composes and theextreme and(intentionally?) point. power andauthority, underscores this president’s character asthesource of This continuingeffort reached its In light of ourcurrent situation DOI: 10.31009/cc.2019.v7.i12.03 Comparative

Cinema - - - 51 Vol. VII Article comparative cinema No. 12 ISABELLE FREDA 2019 Screening Power: Harry Truman and the Nuclear Leviathan https://orcid.org/0000-0001-9809-3900 (p. 29-60). Cambridge, UK: Cambridge UP. SPRINGBORG, Patricia (ed.), Pantheon. 46, p. 1-27. Bibliography pment of theweapon. ty test. The presidential decisionisoff-screen, thedrama isinthescientists develo on theManhattan Project, andendswiththedetonation of thefirst bombinthe Trini Joffé, 1989): like pilot whodropped thefirst bombonHiroshima, and 8/ The other two are: powerful leader which endswar through themonopolization of violence. bbes’s treatise ontheLeviathan, written three years later, provides thefigure of a Years’ War, which was brought onby weak nation-states andreligious enmity. Ho 7/ Heisreferring to the1648 Treaty of Westphalia formalizing theendto the Thirty “advertising” of presidents). Schlesinger Jr. (on excessive presidential power) andKathleen Hall Jamieson (on the Just asample would6/ includeRichard Neustadt (on presidential power), Arthur continually replace oneanother asmasks.” (BELTING, 2017: 178) ponsible whenamedium(itself faceless) attracts ever-new faces to it–faces that magazine conveys theimpression that thenews andits bonusof topicality are res Belting writes inregard to transformation of the “public” face intheU.S. by HenryLuce, owner of SeeHansBelting’s5/ fascinating recent study of theface and, inparticular, the (FOUCAULT, 2003: 13) regarded asaright which canbepossessed intheway onepossessesacommodity.” theory of power: “In thecaseof theclassicaljuridicaltheoryof power, power is This legitimization4/ occurs through what Foucault describesasthe “juridical” between animalityandsovereignty. Derrida’s and theSovereignThe Beast The People’s Two and theEndgames of Bodies Sovereignty flesh of thesovereign asitistranslated to the “bodypolitic” in cinating analysis of thetension produced by the “royal remains” of sovereignty (the the basisof thiswork: inparticular SeeMichel Foucault’s3/ work ongovernmentality andtheLeviathan, which forms and intensification of thenuclear weapons program. the establishment of aneven larger, andmore secret, national securityapparatus Cold War details how shocking thisshiftwas. Cf. pp. 27-35, for starts. is At itsheart Security Councilto President Truman. Sheldon Wolin’s stunning new history of the NSC68was adocumentof over sixtypages2/ of recommendations by theNational powerful imagery canfunction to mask, orscreen out, trauma. War with Japan and Avoiding the Third AtomicBomb. PacificHistorical Review Princeton UP. Stanford University. BRODERICK, Mick (2010). BREDEKAMP, Horst (2007). BOYER, Paul (1985). BERNSTEIN, Barton (1977). BELTING, Hans(2017). AGAMBEN, Giorgio (2011). The Beginning ortheEnd The Beginning Above and Beyond By theBomb’s EarlyLight Life Face and Mask: History. ADouble ’s display of faces onitscover that layout“the of the The Cambridge Companion toHobbes’s Leviathan “The Buck StopsHere”: Hiroshima Revisionism in The Kingdom and theGlory. Thomas Hobbes’s Visual Strategies The Perils and Politics of Surrender: Ending the Society Must Be DefendedSociety MustBe (DERRIDA, 2017)which explores theconnects (Melvin Frank, 1952)aboutCol. Tibbets, the , thelatter spendsmost of itsscreen time Fat Manand Little Boy .New York, New York: [SANTNER, 2011]). Seealso DOI: 10.31009/cc.2019.v7.i12.03 . Santneroffers afas Redwood City, CA: The Royal Remains: Princeton, NJ: Time . (Roland and Life - - - - . - , 52 Vol. VII Article comparative cinema No. 12 ISABELLE FREDA 2019 Screening Power: Harry Truman and the Nuclear Leviathan https://orcid.org/0000-0001-9809-3900 Endgames of Sovereignty (1966), Nuclear War York: HarperPerennial. Political and Psychological CaseAgainstNuclearism WW Norton. Press. Psychological Works of Sigmund Freud James; FREUD, Anna(1966), College DeFrance 1975-1976. Brunswick, NJ: Rutgers UP. (ed.), University of Chicago Press. Lexington Books/Rowman &Littlefield. Art and Popular CultureinResponse totheBomb the TrumanYears. Papers of Harry S. Truman. html from: and War. Secretaries Files. Letter toPresident Truman, fromHenryL. Stimson, and theSpecterof Inverted Totalitarianism. Semiotexte. FREUD, Sigmund(1899). 52. DOI:Leviathan. 10.31009/cc.2019.v7.i12.03 Nuclear the and How to quote DOANE, MaryAnne(2001). DERRIDA,(2017). Jacques DEBORD, Guy(1983). STIMSON, HenryL; BUNDY, McGeorge (1947). STIMSON, HenryL. (1945). SANTNER, Eric(2011). SONTAG, Susan(1966). PRINGLE, Peter; ARKIN, William(1983). LIFTON, Robert Jay; MITCHELL, Greg J. (1995). LIFTON, Robert Jay; FALK, Richard (1982). GREEENBLATT, Stephen (2018). FOUCAULT, Michel (2003). WOLIN, Sheldon S. (2008). VIRILIO, Paul (1990). TRUMAN, Harry S; FERRELL, RobertH. (1980). TIME (1945). The BombandtheMan. [access: 8th September 2006] http://www.time.come/time/magazine/printout//0,88816,886699,00. The HistoricalFilm: Historyand MemoryinMedia Against Interpretation New York: Harper and Brothers. . New York: WWNorton.

JACOBS, Robert (ed.), FREDA, Isabelle (2019). Popular Defense and Ecological Struggle. Society of theSpectacle . Chicago: University of Chicago Press. The Royal Remains: The People’s Two and the Bodies New York: Harper andRow. The Imaginationof Disaster. Screen Memories. The Standard Edition of theComplete Society Must Be Defended:Society MustBe Lectures atthe Democracy Incorporated: Managed Democracy (p. 224-244). New York: Dell. Information, Crisis, Catastrophe. The Beast and theSovereignThe Beast New York:Picador. Comparative Cinema Comparative Document 27,Document Papersof Harry S. Truman. Tyrant: Shakespeare onPolitics , 3(p.301-322). London: The Hogarth Filling theHoleinNuclearFuture: Time Screening Power: Harry Truman Truman Harry Power: Screening SIOP: The SecretUSPlanfor Princeton, NJ: Princeton UP. Indefensible Weapons: The , 31st December1945. Retrieved FREUD, Sigmund; STRACHY, On Active ServiceinPeace . Detroit: Black andRed. (p.135-158). Lanham, MD: Hiroshima inAmerica. Off theRecord: The Private July 31, 1945. President’s , Vol. VII, No. 12, pp. 38- . New York: BasicBooks. DOI: 10.31009/cc.2019.v7.i12.03 (p.269-285). New SONTAG, Susan . Chicago: LANDY, Marcia New York: .New York: New Vol. VII comparative cinema Joan Miquel No. 12 2019 Gual Ruins. A visual motif of the 53-68 Spanish real estate crisis Throughout history, ruins have represented the traces of fallen empires and post-battle landscapes. Progressively, with the urbanization of the world, there are more and more ruins which are the result of rapid construction that leaves visible traces: viewed from the air they resemble metastases, or scars. Such ruins become garbage, remains that are derived from intensive exploitation of the territory based on the rationale of the accumulation of capital, rather than the interests of the general public or environmental sustainability. Many television reports, movies and photographic works have addressed the visual motif of ruins in the context of the crisis that began in 2008. The aim of this paper is to contribute to the ongoing reflection on the issue, by examining various nonfiction titles that were published after the Auken Report (2009). My objective is to show the abundance of audiovisual representations which, apart from the testimonies, have served as criticisms of the Spanish development model from an environmental perspective and the marked inequality that this model generates.

Keywords RUINS VISUAL MOTIF REAL ESTATE CRISIS ENVIRONMENTAL DESTRUCTION MILITANCY CINEMA PHOTOGRAPHY SPAIN

Date of reception: 09/04/2018 Date of acceptance: 28/08/2018

Joan Miquel Gual Associate Professor at Universitat Oberta de Catalunya. He teaches History of Cinema and Arts on Screen. Doctor in Theory, Analysis and Film Documentation from Universitat Pompeu Fabra and Master’s Degree in Theory and Practice of Creative Documentary from Universitat Autònoma de Barcelona. He is also a housing activist, he has participated in social movements such as VdeVivienda and is part of the housing cooperative La Borda SCCL, which has recently been set up in Can Batlló. He is currently investigating the image of the Spanish real estate bubble in film, photography, and literature, and is preparing a book on the subject.

https://orcid.org/0000-0001-6692-3287 DOI: 10.31009/cc.2019.v7.i12.04 54 Vol. VII Article comparative cinema No. 12 JOAN MIQUEL GUAL 2019 Ruins. A visual motif of the Spanish real estate crisis https://orcid.org/0000-0001-6692-3287 emerged ontheSpanishlandscape the representation of theruins that the Spanish government cameto and credit unionswent bankrupt and loans. Asaresult, themainbanks weren’t able to pay back theirbank of families were left unemployed and When thebuilding cycle stopped, alot of homesby takingoutmortgages. that encouraged themassive purchase the interests of theeconomicsystem an interlacing of publicpoliciesand the crash alsohappened because of enough demandto buythem. were started withoutthere being year 2005, more than800,000 homes France combined. Specifically inthe were builtthaninGermany, Italy and Spain where, at itspeak, more homes excesses intheconstruction sector in 2008. These ruins exist because of after thereal estate crisisstarted in orchards; walls enclosing nothing at all” Unemployment inSpainstands at more be left unpaved; now itlooks rather like an abandonedbattlefield, ora territory whole area was onebigbuilding site. It seemed that not aninch of landwould unemployment benefits [...] Five orsix into building lots; neglected, withered under armistice: sites overgrown with national debt, riskpremiums, savings years ago, everyone was working. The Beyond thisexcessive construction, The subject of thisresearch is Ruins and landscape. Avividdebate next year. Alot of immigrants live on than twenty percent andthiscould rise to twenty-three ortwenty-four the country’s laborlaws. The crisis. weeds, orange groves transformed Rafael Chirbes, every ishow morning thebuilding banks going bust and theneedto bubble hasburst, aboutthehuge “All they talkaboutontheradio cut publicspendingandreform En laorilla ( On the On the Edge ) this nonfictional iconography, relative housing warwithnodead. broken by thecrisis has created: theoneswhohave been landscape that ahistoric moment of awar withnodead be linked, inthefirst section ( the urban landscape be focusing. The ideaof presenting the iconography onwhich will thisarticle and itcondensesagreat dealof the in theSpanisheconomiccrisis(2013), during oneof themost difficult years la orilla Monetary Fund). Central BankandtheInternational (European Commission, theEuropean of recovery imposedby the Troika their rescue, following thedictates Redondo,Schulz-Dornburg Julia crisis presented in theworks of Markel photographic depiction of the Spanish Kathy Korcheck inrelation to the of “speculative ruins”, created by we should bearinmindtheconcept Marí to thecurrent Spanishcontext, statement isimportant: to thehistorical present, thefollowing The introduction of thenovel In order to approach themeaningof To connect theideapresented by posterior remainsof abattle (MARÍ, 2005: 20). that thisruined reality demands” documentary to show therealism that of photography, filmand more effective oreloquent than can benomeansof expression the ruin isrepresented, andthere Hence therealism withwhich to anything other thanitself [...] in front of us, anddoes not refer immediate present that we have on, aruin of thepresent, an lost. The ruin is, from thismoment contemplation of what hasbeen any reference to history, orany any memoryof thepast, nor World War I, doesnot show ( “The spectacle of ruin, since On theEdge metaphorically, like DOI: 10.31009/cc.2019.v7.i12.04 or ) was written ), to thehuman defeated inthe Ruins Ruins En En , will 55 Vol. VII Article comparative cinema No. 12 JOAN MIQUEL GUAL 2019 Ruins. A visual motif of the Spanish real estate crisis https://orcid.org/0000-0001-6692-3287 present: instead aboutpointingto adisturbing by Andrés Hispano(2005:173-183), but by thecinemathat hasbeenpresented yet to come, asintheruins dreamt of a hypothetical dystopian future that is about evoking (like insciencefiction) hubris waste derivingfrom construction Ballardian ruins question canalsobedefined as spectacle that legitimizes it. of capitalism andthesociety of the which isused to articulate acritique vision inthosewholook at them, and of view, produce ananti-nostalgic crisis, according to Korcheck’s point is all’” (2015: 92). The ruins of the ‘ends are nothing anddevelopment the ruling economicorder’ whereby the ‘spectacle’, perfect image of ‘the Guy Debord’s conceptualization of ‘speculation’ aswell asreference ruins’ speakto thenotion of market Cadeslasverdes:and “‘Speculative (LEPASTIER, 2016: 353-355) hasproven exists, thetext no theoryof visualmotif incinema of motif incinema” (2016: 16). Although spark theemergence of atrue theory that isplayed by ‘four hands’) isable to countries’ (aswe say of apieceof music “We hopethat thisbook, written by ‘two is baseduponavery clear statement: reflection by many different voices that and BERGALA, 2016), ataxonomic cine consideration is iconography that we should take into Oneacademicbenchmark infilm On theother hand, theruins in (“Visualmotifs of cinema”) (BALLÓ fragility” (MARÍ, 2005: 21). demographic andbiological A cultural, energetic, economic, hadn’t beenconsidered before. now acquired adimensionthat throughout history, butwhich has world. Adaily fragility, recurring the fragility of thecontemporary . That beingsaid, innoway isit “The ruin leads usto reflect on Lacicatriz 1 Motivos visualesdel , i.e., asarchitectonic (“The scar”) (“Thescar”) and which takes ruins asitsmain of militantandprotest intervention, memeology All of thishasconsolidated a advanced metastases, knife cuts. seen from theair, resembling tumors, roads to nowhere, territorial epidermis the country, metaphorical unfinished bubble: real estate corpsesallaround the physiognomy of thebursting of the effortenormous to taking pictures of Rotonda andBasurama have devoted media. The groups Terra Ferida, Nación environmental movement, usingsocial inspired by initiatives linked to the interests mehasbeenheavily of thenonfiction iconography that militancy. Real estate corpsesas critiqueand for itssecondsection: very useful for thisarticle, andmainly model and proposed aseriesof questioned theSpanish development the European Parliament in2009, it like theAuken Report: approved by contrasted with other perspectives, transition andeffect, willalsobe as ifitwere anentirely surmountable and of theruins that derive from it, a symbol of recovery. many families live today. From ruins to of crisisandexcess to thelandwhere be seenasparadigmatic: from theicon framework, thecaseof Seseñawould bad bank as possible. That iswhat theSAREB or stocks to thehighest bidder, andasfast available housingandinfrastructure policies oriented towards sellingoff the overcome by meansof suitable public temporary moment, which canbe crisis, theruins simply exemplify a have hadto manage thereal estate of thedifferent governments that the samecontext. From theperspective power hascreated opposing readings of subject. Apart fromApart cinema, thespread This interpretation of thecrisis, In contrast, economicandpolitical 2 isfor. Withinthisideological that hasled to anew form DOI: 10.31009/cc.2019.v7.i12.04 Dystopian ruins. critical critical 56 Vol. VI Article comparative cinema No. 11 JOAN MIQUEL GUAL 2018 Ruins. A visual motif of the Spanish real estate crisis https://orcid.org/0000-0001-6692-3287 Houses for All Houses for All ( ( Casas para todos, Casas para todos, Gereon Wetzel, 2013) Gereon Wetzel, 2013) DOI: 10.31009/cc.2019.v7.i12.04 57 Vol. VII Article comparative cinema No. 12 JOAN MIQUEL GUAL 2019 Ruins. A visual motif of the Spanish real estate crisis https://orcid.org/0000-0001-6692-3287 “Ballardian” landscapes. crisis, theangel of history flies over in LÖWY, 2005: 62). IntheSpanish call progress is before himgrows skyward. What we back isturned, while thepile of debris propels himinto thefuture, to which his front of him. The wind “[...] irresistibly the disaster of theruins pilingupin will, while hepowerlessly contemplates pushing theangel of history against its a storm that blows infrom Paradise, This ispresented usingtheallegory of ninth thesis “on theconcept of history”. progress formulated by Benjamininhis summarize visually thecritiqueof evolution towards thefuture. Ruins catastrophe from thepast, opposing ruins are synonymous withhuman of history. For author, theGerman the Benjaminianideasof theruins visual motif willbeframed within the environment have beenapplied. right to housingand the preservation of substantial reorientation infavor of the though to thisday, nopoliciesregarding measures to reverse thesituation, of freeway that PEIT (theSpanish peninsula, aswell asthe kilometers real estate ruins located allaround the represents thejourney through the (BASURAMA, 2011). 6,000kilometers and residue of materials andenergy” related to theproduction, consumption, landscape-territoriesvisible certain on themetabolism of cities, by making project abroad, orthevictims of gentrification. human figuration of thosedisplaced in which theruin isfound withinthe are reused to belived in, andothers can findcasesinwhich thesebuilding it isnot anunchanging feature. We feature of real estate bankruptcy, but The Basurama (“Trasharama”) Empty buildings are themain Ruins of awar withnodead Finally, theaforementioned 6000km invites usto “reflect this storm” (BENJAMIN place also appears inthenonfiction distributed across 2.4hectares. This (Malaga), madeupof homes thirty-five residential area inLlanosde Velerín” example of number eight to findan expressive from ruin to ruin. without touching theground, jumping squirrel could cross from to north south descend from thetrees. Nowadays, the from to north southwithouthaving to a squirrel could cross thepeninsula who declared that inRoman times, the Greek historian andgeographer present that famous quote by Strabo, the landscapethat we canadapt to the to such aprofound transformation of territory to which development model. demonstrates thefailure of theSpanish to articulate avisualcritiquethat to produce politicaleffect: aparticular sum of fragments andimages seeks Arcades Project pursues. Informal terms, itpresents the form andpoliticalaimthat it be describedasBenjaminian, given etc. Altogether, itisawork that can on urbangeography, movie dialogues, depending onthecase–anovel, texts from texts from different sources, to scale andanexpressive quote geographic situation, thedimensions and itsstate of abandonment, its description of thebuilding project that consists of aphotograph, abrief presented intheform of afile card locations.thirty-one Each of themis and adigitalbook. The latter shows exhibition projects, acollaborative map fragment: “Landscape after thebattle”. links with Chirbes’ aforementioned before 2020. The subtitle of theproject Infrastructure) aimsto build inSpain acronym for Strategic Planof Transport reference, similarto thechapters of an aesthetic of thequote andthe 6000km We only need to look at file card The devastation of theSpanish bringstogether different 6000km (BENJAMIN, 2013). The DOI: 10.31009/cc.2019.v7.i12.04 6000km : “Abandoned refers hasled The The 58 Vol. VII Article comparative cinema No. 12 JOAN MIQUEL GUAL 2019 Ruins. A visual motif of the Spanish real estate crisis https://orcid.org/0000-0001-6692-3287 Schumpeterian creative destruction, entrepreneurial field inwhich to apply business opportunity, that isto say an point of view of economicpower, asa of acrisiswhich isviewed, from the this way, thefilm expresses thenotion when theviolinsplay intheparlors”. In while bombsdrop ontheport, not lecture: “The great fortunes pile up quoting Rothschild inanacademic we hearagreat show businessguru with sequenceslike theoneinwhich of thedemolition of anold building nonfiction filmalternates scenes been posited upto now. This full-length to delve into theiconography that has Mercedes Álvarez, 2011)enables us becomes almost literal. metaphor oflandscape thewartime ambush techniques. Inthisway, the where soldiers rehearse defense and battle) into turned a training camp presents asalandscapeafter the the scenario(which group theartistic by theSpanisharmy. Wetzel shows empty properties have beenreused which shows how, surprisingly, the para todos feature film published the following headline: evicted from theirhomes. people andfamilies whohave been skeletons into livingmachines, by homes the section. Here we willtalkabout, firstly, will discussindetail inthefollowing environmental movement, which we example, we should mentionthe have beendefeated. To give just one are, theruins show that many more about whothewinners of thebattle drastically. real estate pricesinSpainhadfallen one inthefilm’s present) inwhich filled with offers, inacontext (the and aspeculative possibilitythat is In 2017, thewebsite Idealista Though Futures Market iconography of thereuseof empty , the conversion of real estate , Gereon Wetzel, 2013), Futures Market Houses for All ( Mercado defuturos isclear ( Casas Casas , Siete díasenlaPAH deBarcelona Days atPAH Barcelona Herranz, 2012)and La Plataforma their homesbetween 2008and2015. of over 400,000 families that have lost the Spanishacronym), riseto atotal Affected by (or Mortgages PAH, using according to thePlatform for People that happened between 2008and2011, which, together withtheother 244,000 place (data from theBankof Spain), 2012 and2015, 177,900 evictions took peak. Itwent onto say that between the numberof empty houseswas at its market since2010, theyear inwhich 348,000 properties hadcomeonto the 2017). The news reportexplained that around Spain” (IDEALISTA EDITORIAL, of empty homesare still onsale all “The burden of housing: 1.36 million could mention, we would pointto of reportsonthesubject that we and internationally. Ofthegreat number most intensive years, both domestically television andmediaattention inits produced by thecrisisgrabbed poor Andalusianfamilies. Corrala Utopía, abuilding occupiedby film, which shows the experience of is present inWetzel’s aforementioned of theConstitution housing, which 47 isincludedinarticle of ruins of this generated by LaPlataforma are allpart interactive mapsof empty homes people how to squat aproperty, and Work”, manualsthat explain to ordinary and marked withthesign “PAH Social homes withnopeople!” no sense: people withnohomes, and known slogans of PAH is “It makes democratic Spain. Oneof thebest- most influentialsocialmovements in of self-organization of oneof the Pau Faus, 2014)show theprocess In thiscontext, documentarieslike Secondly, theimpoverishment Hundreds of buildings squatted iconography of popularrecovery to implement theright to (“ThePlatform” by Jon DOI: 10.31009/cc.2019.v7.i12.04 3 Sí sepuede.Sí Seven .iconography This ( Sí sepuede.Sí , The The 59 Vol. VII Article comparative cinema No. 12 JOAN MIQUEL GUAL 2019 Ruins. A visual motif of the Spanish real estate crisis https://orcid.org/0000-0001-6692-3287 Rubén Hornillo, 2015) and Spanish Exile also addressed indocumentarieslike lack of opportunities, anissuethat is of abetter future abroad because of a exile the ruinsaresynonymous of economic exiles interviews of impoverishment, thereporter and sugar. To complete thispanorama goods can beobtained, such asmilk for thosemost inneed, where essential association alsoprovides afood bank term unemployed to find work. The association aimedat helpingthelong- shows theprogram of aneighborhood construction paralysis, thefeature working at full capacity. there usedto beforests of cranes abandoned construction works, where similar to Chirbes’ Misent de Salines, asmalltown which is the effects of thecrisisisSantMiquel One of the examples chosen to show the general economic crash took place. focuses on Valencia, andexplains how Great SpanishCrash El museode losdesplazados creation of thecollaborative archive (a Madridcollective) hasproposed the neighborhoods that Left HandRotation people forced to abandoncertain Since then, there have beensomany urban planningtransformation. neighborhood of Raval, after amajor or gentrification intheBarcelona crisis example of socialreplacement Guerín,Luís 2001)was already apre- Work inProgress out by theurbanreform andcitymodel. displaced person, thosewhoare driven separated from the humanfigure of the gentrification needs to bementioned: linked to thereal estate cycle 2014). Land Thirdly, another form of iconography As aconsequenceof the , enforced emigration insearch ( inother countries. Inthiscase, En tierra extraña jobless young people, work , aprocess that cannot be ( Españoles enelexilio ( En construcción (BBC, 2012). This , Bollaín, Icíar the ruinsof 4 dueto lots of In aForeign (“The (“The , José , follows by theauthor: shows many ruins anditisdescribedas project aboutCabanyal (Valencia). It are includedinAlejandro S. Garrido’s Consumption inseparable from thehumanlandscape. urban planning landscapeiscompletely kind of war withnodead. The resulting abundant ruins, canbedefineda as which, based on theiconography of the in theSpanishfinancial-housing crisis These situations have alsotaken place displacement of population alloccur. of rights, poverty, exile andthe mention that inwartime, suspension the Valencianneighborhood. and hopesof theexisting population of mobilizations, uneasiness, milestones Presmann, 2018), dealingwiththe zero and themore recent one, (“Let’s Save ElCabanyal”) platform, resistance by theSalvem ElCabanyal which describesthefirst 15 years of at Cabanyal” by Sergio Tarín, 2013), proposed in same context, views such astheone more dialectical stories aboutthe vision, we should alsoconsiderother, here thephotographic work “work in progress”, Iwillmention great dealof themtake placeinSpain. many placesintheworld, thougha from neighborhoodsthat happen in contributions –thecasesof expulsion documents –basedonindividual museum of thedisplaced”). This archive As anexample of thedocumentation In closing thissection, Ishould Despite thisone-dimensional (“Cabanyal Year Zero”, by Frederic and thesupplanting of allpre- social fabric, the cultural heritage involves thedestruction of the a city-brand, thenew Valencia, around how theproduction of Valencia. The project revolves the destruction of Cabanyal in heterogeneity” (GARRIDO, 2011). existing identityordiscursive “A visualproject basedon Abril alCabanyal –oneof thethree that DOI: 10.31009/cc.2019.v7.i12.04 Cabanyal any Site Site (“April 60 Vol. VII Article comparative cinema No. 12 JOAN MIQUEL GUAL 2019 Ruins. A visual motif of the Spanish real estate crisis https://orcid.org/0000-0001-6692-3287 The bigger theboom, thebigger the the biggest financialbubble inhistory. gains [...] The global housingboomis and therecord size of house-price both thenumberof countriesinvolved boom isunprecedented interms of had warnedtwo years before that “This PAÍS, 2007). However, is safe from theeconomiccrisis” (EL claimed:ZapateroRodríguez “Spain the SpanishGovernment José Luís as acritiqueandmilitancy barbarism”. of culture” that isalsoa “document of is, inaBenjaminiansense, a “document further on), thelandscapeof thecrisis reason (andothers that we willexamine the deepinequalitythat exists. For this struggle, andwhich makes quite clear of theones ruined or defeated by the and crisis, aswell asto highlight amap constructive comparisonbetween war to develop andelaborate uponthe Both, insuccession, canhelpus for thewhole country: theiconic paralysis. The title works asa metaphor very expressively theeffects of this España abandonment. to becomealandscapeof ruins and Aznar haddefined it(CALVO ROY, 1997), miracle”, asPresident José María being synonymous of an “economic the Spanishlandscapestopped because of thecrisis. At that time, burst that was to come. Cruz, 2014)–also warned aboutthe documentary Ricard Vergés – interviewed inthe for theUniversity of Montreal, professor inReal Estate Economics (FERNÁNDEZ DURÁN, 2006)andthe ecologist RamónFernández Durán eventual burst” In 2008, cranes stopped moving In 2007, thethen-president of The Auken Report inimages Dystopian ruins. Real estate corpses , Víctor Moreno, 2012)captures €uroestafa The Building 5 . Voices such as The Economist (Guillermo (Guillermo ( Edificio devastating Auken Report. This report reaction by to both politicalparties the differentiation by thepeople was the complicit way. the policiesthey applied inasimilar, more indistinguishable because of wereparties becomingmore and highlight theideathat thetwo main the concept #PPSOEwas created, to the Internet andinthetown squares “PSOE-PP, both are thesameshit”. On 15M people’s movement, inaddition to been oneof themainslogans of the released, “Nobody represents us” had went with it. evictions andmassunemployment that real estate cycle, withoutforgetting the the story of thepeakandfall of the skyscraper of Madridisusedto evoke (LEAL, 2009). 10. sentences Court not beingupheld administrations judged to be guilty; Arbitrary demolitions; 9. All the official 7. The coasts law virtuallyignored; 8. 6. Illegal houses continuedto besold; by speculation; 5. Plunderasamodel; scruples; 4. The islands, annihilated the economy; 3. Goodfaith vs. few 2. Citizens becomingvictims of report were: 1. Biasedlandinspection; came infor thegreatest criticisminthe brought to anend. The pointsthat urbanization abusesinSpainweren’t called for thefreezing of EUfunds ifthe Socialist Worker’s Party). The report the abstention of thePSOE(Spanish Partido Popular (People’s Party)and albeit withadissentingvote from the overwhelmingly approved by theMEPs, from theecologist movement. Itwas in theterritory comingessentially based oncomplaintsof aggression (AUKEN, 2009). The text was written EU law, baseduponpetitions received” environment andontheapplication of rights of European citizens, onthe urbanization inSpainonindividual dealt with “The impact of theextensive Among thereasons for thislack of A year before thedocumentarywas DOI: 10.31009/cc.2019.v7.i12.04 61 Vol. VI Article comparative cinema No. 11 JOAN MIQUEL GUAL 2018 Ruins. A visual motif of the Spanish real estate crisis https://orcid.org/0000-0001-6692-3287 Seseña Terra Ferida Nación Rotonda DOI: 10.31009/cc.2019.v7.i12.04 62 Vol. VII Article comparative cinema No. 12 JOAN MIQUEL GUAL 2019 Ruins. A visual motif of the Spanish real estate crisis https://orcid.org/0000-0001-6692-3287 regarding recovery. The mainone capitalism hascreated itsown myths respectively. with thereal estate cycle anditscrisis, and 2011. Both timeframes coincide they were abandonedbetween 2008 in allbutoneof theconstructions, steady growth from 1993to 2007. Also, one project, took placeintheyears of in common: theplanning, from apart is onethingthat allthecaseshave abandonment of alltheprojects. There processing, planning, construction and chronological explanation of the aerial orover theland, we findabrief to thephotographs, which are either located using spread outacross thepeninsulaand 25 building projects brought to ahalt, In total, Schultz shows ingreat detail of Lucre”) isitsexpressive subtitle. Topografía dellucro Ruins”) (SCHULTZ-DORNBURG, 2012). the book interesting, pioneeringscrutiny in upon thelandscapecameinfor an decried by thereport was expressed without anybody knowing what to continue to rot across thecountry, building projects of different sizes book isstill relevant. Hundreds of ghost alleged economicrecovery. authorities of power, asamirror of the of Seseñahave beenused, by the other words, thecaseandiconography itintoturning asymbol of recovery. In have beensold, atotal of 5,096, thus its physiognomy: allexisting homes Today, thishousingestate haschanged like press reportsandnon-fiction films subject ofbecame oneimportant many abandonment andexcess. ElQuiñón Paco “El Pocero”, andasymbol of the corrupt constructor andpolitician pharaonic construction instigated by being ElQuiñón, SeseñaNueva, a Despite Seseña, Schultz-Dornburg’s On theother hand, Hispanic The ways inwhich thesituation Houses for All Ruinas modernas Google Maps Google and (“A Topography €uroestafa (“Modern (“Modern . Attached . stages: transforming similarplacesinto theatre absurdity, Jordi Punti hasproposed meaningless. Just to underlinethe 2017). Time hassimply stopped there, be housing1,600 families (BRUNAT, (Buniel, Burgos), which today should to namejust one, withSoto delReal they hadbeenlooted. This isthecase, become improvised landfills, after these half-constructions have literally a of iconographic meaninghasbecomeone supposed to become homes, their do withthem. Although they were that istheproduct of pure economic materials, adevastated landscape our gaze onruins seenasbroken-down war ruins, inthisonewe are focusing the previous section we talked about topography of real estate lucre. Ifin can alsoexplore amegalomaniac and thenabandoned, and where you in many different Chinesecities, built waste: for example, thosethat exist the global geography of architectonic This Spanishlandscapeislinked to garbage dump-ruin theater company which would involve setting upatraveling irreverent to you, butitwould Samuel Beckett. Itmight seem tribute to theabsurd, courtesy of all thisnonsensewould beviaa (PUNTÍ, 2012: 117-119). to Vladimir: ‘Nothing to bedone’” would appear andhewould say dusk, inthehalf-light, Estragon pool, withpuddles init. Then at project; theinsideof anempty foradvertisement areal estate sign; apalmtree next to abroken asphalted highway andatraffic next to avacantlot; ahalf- would benatural: alamppost Waiting for Godot logical thanfor themto perform arrived, nothing would seemmore those openspaces. Oncethey had go through Spaininsearch of “A good way to make senseof DOI: 10.31009/cc.2019.v7.i12.04 .stage The . Infact, many of 63 Vol. VII Article comparative cinema No. 12 JOAN MIQUEL GUAL 2019 Ruins. A visual motif of the Spanish real estate crisis https://orcid.org/0000-0001-6692-3287 different purposes: like Ecologistas enAcción, allpursuing Basurama andecologist organizations like Pablo Arboleda, groups like org the database a speculation, which evokes theideaof planning. InKorcheck’s words: has outstripped any kindof rational of capitalisminwhich speculation but thevalidityof anaberrant phase the sublimenature of ancientruins, nostalgia for apast time, let alone singularity isthat they donot express prevailing neoliberalism today constitute a that are scattered around theworld real estate corpse Finally, thelandscapesof ruins , which ispromoted by researchers break theillusionof speculation investment, then thephotographs unchecked flow of capitaland by anever accelerating and always future-oriented, driven MODERNAS et al., n.d.). approaches” (ARBOLEDA, RUINAS other more analytical orartistic incompatible withrigor orany aim, which isnot necessarily drives usonisapractical, activist developments). Inshort, what (there are too many large failed and/or restoration of theland cases, to callfor thedemolition continuing to expand. Orinother has already beenbuiltinstead of even socialhousing, usingwhat facilities, urbanallotments or for other usessuch associal characteristics, canbeadapted to theirlocation, ownership or (buildings, plots) which, due identify thosemore urbanspaces and to reclaim them. Also, to that of rustic orprotected land, have theirstatus reversed to their values, property orsituation) land areas which may (because of “If market speculation is “Firstly, to identifyspacesand cadaveresinmobiliarios. signof identityof the , asincludedon .aesthetic Their and strong private investment: from theEuropean Investment Bank by state investment, EUfunding, loans construction of infrastructures, driven has gone hand-in-handwiththe cuts freeway). Itwas apioneering filmon Autopista delAtlántico (Atlantic coordinator of thefight against the and cities, on commissionby the screened inmany Galiciantowns á nosaterra aggressions against theplanet’s skin. cuts, scars andwounds; that is, as planning excesses onthelandasrazor of works that refer to the urban point of view, we canfindaseries Significantly, from aniconographic and theimage society (third skin). different to thebiosphere (first skin) skin” (FERNÁNDEZ DURÁN, 2010) the planet asawhole, as a “second complex, thehumaninterventions on described theurban-agro-industrial Wounds, scarsand “memetic” razor The massconstruction of homes In 1977, Ramón Fernández Durán has (KORCHECK, 2015: 92). of thespeculative economy” gaze uponthefresh remains slowing orpausing the viewer’s as progress anddevelopment, urban andmetropolitan suburbs (the terraced houseboom)inthe (FERNÁNDEZ DURÁN, 2006: 13). etc.) hasbeentruly spectacular” speed trains, airports, large ports, infrastructure (highways, high- Thus, thecreation of transport the new territorial developments. the marked spatial occupation of have hadadecisive impact on “This freeway goes nowhere! Don’t “the new residential typologies “the Autopista, unhanavallada (Llorenç Soler, 1977)was worry, itwillcreate places.” DOI: 10.31009/cc.2019.v7.i12.04 El Roto El 6 64 Vol. VII Article comparative cinema No. 12 JOAN MIQUEL GUAL 2019 Ruins. A visual motif of the Spanish real estate crisis https://orcid.org/0000-0001-6692-3287 map theurbanplanningatrocities that invites people to identifyona years, through acollaborative project uses of thelandinlast fifteen documents theinventory of changing Nación Rotonda (“Roundabout Nation”) and itsconsequencesproliferate. on thetransformation of landscape multiple forms of audiovisual militancy 355). Today, intheSpanishcontext, and territories” (LEPASTIER, 2015: a “testimony of thepainof landscapes figurative iconography that operates as construction of roads, there isa of progress that surrounds the construction, itsopenveins. images that show the magnitudeof the alternating andoverlapping with roughly recorded, almost inaudible) the affected people (inaudios that were used inthoseyears: testimonies from the tough narrative style that Soler original populations, allexpressed with expropriations, andexpulsions of in two, causing many demolitions, of afreeway that dividedGalicia raise awareness abouttheconstruction the issue, aninstrument designedto so that people canseeit clearly. another view of the “corpse” inquestion on thesameground, thusoffering to photographs of thelocations taken exploitation. These images are attached area –to highlight thetrail of hyper- comparing thepresent andpast of the they mainly useaerialimagery – 2015). To carry outthispopularization, thing that isurbanism” (CARRETERO, is away of popularizingavery technical define thepractice itself as follows: “It particularly emphasizingroundabouts. abandoned roads andfreeways, and aggressions, mainly focusing onthe most complete existing archive of land thousands of entriesthat make upthe critical participatory cartography has the peninsulaandislands. This existing inmany towns andcitieson The members of NaciónRotonda In general, counter to thestory completely devastated by highways organization’s logo shows Mallorca similar to that of NaciónRotonda. The a visualcritiqueapproach that is (“Wounded Land”)have alsodeveloped far, other groups such as Terra Ferida Besides theexperiences mentioned so landscape consequences)to go viral the associated environmental and iconography inquestion (together with of ruins of militantintervention social media. We could callthis kind has taken placefor several years on that interests meinthemediasphere 28,151€. needed; 972sponsors contributed crowdfunding campaign. 8,000€was and TRAPIELLO, 2015), thanks to a (TRAPIELLO, ALVÁREZ, GARCÍA Rotonda slogan adopts anexpression and abandonment. The ironic Nación a widecatalog of monumentsto excess trips by group members, itdocuments images, individualcontributionsand public commissionat all. UsingGoogle that Nación Rotonda proposes isn’t a very start. Incontrast, thesurvey use of photography almost from the monuments, thereby makingpatriotic take shots of historical national sent in1851five photographers to the French construction works. For example, to documentmonumentsandpublic was commissioned by governments century,at theend of the19th which toponymic representation, initiated or photographic mission: aform of subversive reinvention of thesurvey context have facilitated the that were openedupby the2.0 homonymous book should mentionthepublication of the Among themilestones achieved, we (“This allusedto becountryside”). land: “Antes todo era campo” aquí about thetransformation of the that iscommonly usedinconversations The possibilitiesof collaboration The circulation of thevisualmotif , because itsaimisfor the Mission Héliographique DOI: 10.31009/cc.2019.v7.i12.04 Nación Rotonda memeology memeology

7 . 65 Vol. VII Article comparative cinema No. 12 JOAN MIQUEL GUAL 2019 Ruins. A visual motif of the Spanish real estate crisis https://orcid.org/0000-0001-6692-3287 display thedestroyed landscape islands. Thus, TerraFerida’s protests conservation of theenvironment onthe oriented towards socialjustice andthe legal battles andstages mobilizations critiques,artistic italsoembarks upon only doesitdocumentandorganize programs andadministrations. Not tackles non-complianceof political has becomeapoliticalactor that fromapart shiningalight ontheruins, tourism. Itisanorganization which, which isbased onconstruction and the Balearic development model, Coordinator of Mallorca) –against Included”, publishedby theLibertarian monographic (with theacronym GOB)andthe Groupwith theBalearic Ornithology promotes protest campaigns–along area 15timesbigger, mobility intheislandswould require an 2894). That is, thelevel of current the Balearic Islands” (MURRAY, 2012: 17.7 timestheavailable landsurface in ecological landdeficit isabout14.7 or surface area required to satisfy the exaggeration, sincenowadays “the and roads. The visualmetaphor isno as thePAH) andtheaudiovisual and of those and crisis. Meanwhile, themovements point to theparallels between war indebted, exiled ordisplaced–which suggests multiple ruined figures –poor, for arather evocative image that The landscapeafter thebattle makes estate crisisinnonfiction images. visual motif of theruins of thereal television, andphotography onthe comparative exercise incinema, the Edge powerhouses. of oneof theworld’s maintouristic to reverse, theecological footprint as away of popularizing, andtrying The fragment from thenovel Conclusions Terra Ferida participates inand hashelpedto catalyze a defeated by thecrisis Tot inclòs

15 archipelagoes (“Everything (such On On . is strongly challenged. the usefulness of somuch construction at thevisuallevel, resemble anillness: wounds, scars andmetastases which, landscape iscovered withrazor cuts, the ruins alsobecomeallegories: the environmental issues. Inthissense, ofideology progress, by focusing on possible to produce acritiqueof the post-crisis representations makes it Ballard’s imagery andnonfiction of memes. The parallelism between visual critiquesthrough thecirculation movement, which hasimplemented initiatives related to theenvironmental also beenafocus of attention for the population. is causingdiscontent enormous among dealing critically withasituation that groups exemplify different ways of collaborative militancy of different Synonymous withgarbage, real of thelandscapeof neoliberalism. of theSpanishcrisisare acrucial part the secondsection of thearticle. wounds, andscars, which are tackled in secondly theaerialimages, theopen are dealtwithinthefirst section, and the ground, which are theonesthat the urbanemptiness of images on firstly, thelandscape phantasmagoria, generated two maintypesof images: environmental abuse. becomes areminder of inequalityand this sense, thevisualmotif of theruins not beconspicuousby theirabsence. In guarantee to theright to housingmust model, inwhich sustainability andthe the needfor adrastic change of environmental destruction highlights the view of defeated people and of theruins of thereal estate crisis: functions asafootnote to theimages Benjamin invarioustexts. This of capitalismcontributed by Walter to refer everything to thecritique Furthermore, theseruins have At aniconographic level, theruins The iconography of theseruins has For allthesereasons, it isuseful DOI: 10.31009/cc.2019.v7.i12.04 66 Vol. VII Article comparative cinema No. 12 JOAN MIQUEL GUAL 2019 Ruins. A visual motif of the Spanish real estate crisis https://orcid.org/0000-0001-6692-3287 pages of abandoned seafronts. [...] Like the of hotels onsuccessive, equally closed supermarkets andcrowns story describedegraded roads, [...] immediate, local present: science fiction, applied to the Ballardian universe of catastrophic through theirnonfiction status, the the residual stump of roads evoke, show a rather grave clinicalprofile. that this entails. They are ruins that use, withallthenegative consequences value of change isfar above thevalueof day ruins of apresent inwhich the ancient ruins. Rather, they are every- compared withthesublimenature of second skin, thislandscapecannot be estate speculation anddiseaseof the “The most accurate images of the The skeletons of empty homesand Low-Flying Aircraft 4/ The imaginary 4/ Valencian town inwhich most of Chirbes’ novels are set. with thegeneral interest inorder to prevent speculation”. standards inorder to make thisright effective, regulating landuseinaccordance authorities shallpromote thenecessaryconditionsandshallestablish appropriate 3/ “All Spaniards are entitled to enjoy decentandadequate housing. The public that went bankrupt. responsible for themanagement of thereal estate assets of four bankingentities is apubliclimited company, owned 55%by publiccapitaland45%by private equity, 2/ The Management Company for Assets Derivingfrom BankRestructuring (SAREB) of technological, socialorenvironmental developments”. esp dystopian modernity, bleak man-madelandscapes, andthepsychological effects “resembling orsuggestive of theconditionsdescribedinBallard’s novels andstories, 1/ Inaccordance withthedefinition inthe communication anddissemination of theruins resulting from thecrisis. with more than10,000 Facebook friends, make socialnetworks themainmeansof 7/ Asof today, the Twitter accounthasmore than19,000followers which, together Cartoon publishedin 6/ [accessed: January 28th2019] 1. Also available at The news5/ story, publishedon06/18/2005, isquoted inFERNÁNDEZ DURÁN, 2006: https://www.economist.com/leaders/2005/06/16/after-the-fall (J.G. El País , 09/09/2011. from themandates of themarkets. another form of exceptionality deriving guarantees such ashousing, but conflict that has rescinded democratic is revoked, althoughitisnot anarmed declared, of thecharter part of rights wartime, whenastate of emergency is exaggeration to claimthat, just like in Constitution. Because of this, itisno violation of47 Article theSpanish (MUÑOZ, 2012: 7-9). disfigured inits own abandonment” magnificent and totalizing asitis the ruins of as anurban modernity Dornburg confronts ourgaze with Ballard, 1974), the work of Schultz- Finally, theruins alsospeakof the (See originaltexts at theendof thejournal) Translated by Daniela Torres Montenegro Collins Dictionary, DOI: 10.31009/cc.2019.v7.i12.04 by Ballardian Imean: 67 Vol. VII Article comparative cinema No. 12 JOAN MIQUEL GUAL 2019 Ruins. A visual motif of the Spanish real estate crisis https://orcid.org/0000-0001-6692-3287 CCCB/Diputació deBarcelona. Publishing. rotonda_n_7654460.html 5th 2015. Retrieved from: delacrisis(FOTOSurbanísticos ANTES Y DESPUÉS). Huffington Post [access: April 5th2018]. https://elpais.com/diario/1997/05/21/economia/864165602_850215.html estadounidense ‘Wall Street Journal’. ElPaís urbanizaciones-fantasma-se-pudren_1331763/ from: “Nunca nadiequerrá viviraquí”. Available at: Barcelona: GalaxiaGutenberg. 2019] collinsdictionary.com/dictionary/english/ballardian Ruinas modernas. Unatopografia dellucro [access: 2018]. November 9th 2018]. diario/2007/08/22/portada/1187733606_850215.html financiera. ElPaís [access: April5th2018]. https://elpais.com/diario/2003/10/04/espana/1065218417_850215.html el posibleestallido delavivienda. ElPaís 2009. Parliament onMarch 26th cadaveresinmobiliarios.org/objetivos-de-cada-colectivo-o-individuo/ colectivo oindividuo”. Bibliography html Rotation –Elmuseodelosdesplazados. conquista delalma. org/article.php3?id_article=4824 mundial. Ecologistas enacción. ARGULLOL, Rafael (2012). ARBOLEDA, Pablo; RUINAS MODERNAS et al. (n.d.). “Objetivos decada DÍEZ, Anabel(2003). COSTA, Jordi (dir.) (2008). CHIRBES, Rafael (2016). CARRETERO, Rodrigo (2015). CALVO ROY, José Manuel(1997). BRUNAT, David (2017). BENJAMIN, Walter (2013). BASURAMA (2011). BALLÓ, Jordi andBERGALA, Alain (eds.) (2016). Ballardian (s.d.). AUKEN, Margarete (2009). http://www.lefthandrotation.com/museodesplazados/ficha_a_garrido. FERNÁNDEZ DURÁN, Ramón(2010). FERNÁNDEZ DURÁN, Ramón(2006). EL PAÍS (2007). GARRIDO, Alejandro (2011). [access: April5th2018]. http://www.elconfidencial.com/vivienda/2017-02-20/promociones- www.6000km.org , August 22nd 2007. Retrieved from: Zapatero garantiza queEspaña está asalvo delacrisis Barcelona: Virus editorial. Collins EnglishDictionary. Cadáveres inmobiliarios. 6000 km. Paisajesdespuésdelabatalla. Zapatero culpa al Gobierno de desoír susavisossobre dedesoír Zapatero culpaalGobierno http://www.huffingtonpost.es/2015/06/24/nacion- [access: May 4th2018]. Las promocionesfantasma sepudrenensilencio: On theEdge. J.G. Ballard. Autòpsiadelnoumil·leni. Libro delospasajes. El gran saqueo. Auken Report.

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Retrieved from: El Confidencial Nación rotonda: 10ejemplosdedesastres [access: April5th2018]. “Yo soy elmilagro”, asegura Aznaraldiario Tercera piel. Sociedad delaimagen y Retrieved from: El Tsunami urbanizadorespañoly , October 4th 2003. Retrieved from: New York: New Directions (p. 71-74). Barcelona: Àmbit. Approved by theEuropean , May 21st 1997. Retrieved from: SCHULTZ-DORNBURG, Julia, Retrieved from: Retrieved from: , 2017. February 20th Retrieved www.ecologistasenaccion. [access: April 5th2017]. Motivos visualesdelcine. Madrid: Akal. [access: February 3rd DOI: 10.31009/cc.2019.v7.i12.04 https://elpais.com/ [access: April5th https://www. http:// Navarra. Barcelona: , August

68 Vol. VII Article comparative cinema No. 12 JOAN MIQUEL GUAL 2019 Ruins. A visual motif of the Spanish real estate crisis https://orcid.org/0000-0001-6692-3287 de “El Pocero” enSeseña. ElMundo, 15th 2017. Retrieved from: enventa portodaEspaña.millones decasasvacías Idealista Ruinas modernas. Unatopografia dellucro [access: 2018]. November 9th Ciències dela Terra. vol. 3. Palma deMallorca: Universitat deles Illes Balears, de Departament metabolisme socioeconòmicipetjadaecològicad’una superpotènciaturística, modernas. Unatopografia dellucro Motivos visualesdelcine esplendor delaruina lucro. [access: April 5th2018]. www.elmundo.es/economia/2016/04/22/57190cbe468aeb39418b45ee.html «Sobreelconceptodehistoria». tesis deWalterBenjamin millones-de-casas-vacias-en-venta-por vivienda/2017/09/14/747998-el-lastre-de-la-vivienda-aun-arrastra-1-36- Concept of History’. (eds.), suvivienda/1238071948.html 2009.March 26th Retrieved from: Vol. 19, p. 91-108. of theSpanishEconomic Crisis. Arizona Journal of HispanicCultural Studies esplendor delaruina Rafael. (2015). HISPANO, Andrés (2005). SCHULTZ-DORNBURG,(2012). Julia SALIDO COBO, Jorge (2016). REYES MATE, Manuel(2006). REDACCIÓN IDEALISTA (2017). PUNTÍ,(2012). Jordi MURRAY, Ivan(2012). MUÑOZ, Francesc (2012). MARÍ, Antoni (2016). MARÍ, Antoni (2005). Spanish real estate crisis. 68. DOI: 10.31009/cc.2019.v7.i12.04estate real Spanish How to quote TRAPIELLO, Guillermo; ÁLVAREZ, Miguel; GARCÍA, Esteban and TRAPIELLO, LEAL, José F. (2009). KORCHECK, Kathy (2015). LÖWY, Michael (2005). LEPASTIER,(2016). Joachim Barcelona: Àmbit. Motivos visualesdelcine Nación Rotonda.

GUAL, Joan Miquel(2019). London: Verso.

Retrieved from: (p. 13-21). Barcelona: Fundació Caixa Catalunya. (p. 173-183). Barcelona: Fundació Caixa Catalunya. Arqueología delfuturo. Los diez azotes deAuken alladrilloespañol. ElMundo La ruina El esplendor delaruina. (p. 214-219). Barcelona: GalaxiaGutenberg. Geografies delcapitalismeGeografies balear: poder, Fire Alarm: Reading WalterBenjamin’s ‘On the http://www.idealista.com/news/inmobiliario/ Comparative Cinema Comparative Soñando nuestra ruina. [access: April5th2018]. Speculative Ruins: Photographic Interrogations Prólogo (p. 353-355). Barcelona: GalaxiaGutenberg. La recuperación Inmobiliariallegaalaciudad La cicatriz. Madrid: PHREE. . BALLÓ, Jordi andBERGALA, Alain (eds.), Medianoche enlahistoria: Comentarios alas www.elmundo.es/elmundo/2009/03/26/ El lastredelavivienda: aúnarrastra 1,36 (p. 7-10). Barcelona: Àmbit. April22nd2016. Retrieved from: http://hdl.handle.net/10803/104203 .SCHULTZ-DORNBURG, Julia, Ruinas modernas. Unatopografia del [access: April 5th2018]. (p. 117-119). Barcelona: Àmbit. BALLÓ, Jordi andBERGALA, Alain Ruins. A visual motif of the the of motif visual A Ruins. SCHULTZ-DORNBURG, Julia, MARÍ, Antoni (ed.), , Vol. VII, No. 12, p. 53- MARÍ, Antoni (ed.), DOI: 10.31009/cc.2019.v7.i12.04 Madrid: Trotta. , September El Ruinas http:// El , , Vol. VII comparative cinema Mercè No. 12 Oliva 2019

The political relevance of 69-90 “almost trivial-looking things”. An interview with Theo van Leeuwen In this interview, Theo van Leeuwen reflects on the role of social semiotics and iconography as research methods for identifying the ideology conveyed by multimodal texts and signifying practices. Van Leeuwen defends the relevance of analyzing and understanding what seems trivial and apolitical, such as images, toys, PowerPoint presentations and spaces, all of which shape our worldview and establish the possibilities and limits of social practices and relationships, as well as their role in legitimating (or challenging) the social order. The last section of the interview is devoted to an analysis of overtly political images: van Leeuwen talks about how politicians present themselves to the media in the current era of politainment; reflects on how social movements use the visual to stir up debate and challenge dominant discourses and, finally, he discusses memes as examples of popular humor and participatory culture and their potential and limitations in terms of challenging and fostering social change.

Keywords SOCIAL SEMIOTICS ICONOGRAPHY POWER POWERPOINT PLAYMOBIL POLITICAL COMMUNICATION MEMES

Date of reception: 01/02/2019 Date of acceptance: 18/02/2019

Theo van Leeuwen Professor of Language and Communication at the University of Southern Denmark and Emeritus Professor at the University of Technology, Sydney. He has published widely in the area of visual communication, multimodality, and critical discourse analysis. He was founding editor of the journals Social Semiotics and Visual Communication. His books include Speech, Music, Sound; Reading Images – The Grammar of Visual Design (with Gunther Kress); Introducing Social Semiotics; and Discourse and Practice – New Tools for Critical Discourse Analysis. Mercè Oliva Senior Lecturer in Media Studies at the Department of Communication in Universitat Pompeu Fabra. Her research focuses on celebrity culture, class and gender studies, governmentality and reality TV. She has published articles in journals such as Convergence, Celebrity Studies and Social Semiotics, and she is the author of the book Telerrealidad, Disciplina e Identidad. Los makeover shows en España [“Reality TV, discipline and identity. Makeover shows in Spain”]. She is also the Director of the B.A. program in Audiovisual Communication at UPF.

https://orcid.org/0000-0002-6812-737X DOI: 10.31009/cc.2019.v7.i12.05 70 Vol. VII Interview comparative cinema No. 12 MERCÈ OLIVA 2019 The political relevance of “almost trivial-looking things”. https://orcid.org/0000-0002-6812-737X An interview with Theo van Leeuwen on what goes unnoticed andseemsnatural, such asimages texts, practices andsociety. Hisresearch hasbeen focused semiotics. Inhiswork, heexplores the relationship between Theo vanLeeuwen isoneof theleading scholars onsocial 2013). Hehasalsobeeninterested iniconography, showing how brief andunconnected ideas(DJONOV and VAN LEEUWEN, by amixture of thevisualandverbal, andasuccession of PowerPoint fosters amarketization of publicdiscourse, marked in workers andstudents (VAN LEEUWEN, 2005)andhow plan offices andschoolsways inducecertain of behaving stereotypes) (VAN LEEUWEN, 2008: 149-162; 2009); how open gender hierarchies (by replicating andreinforcing socialnorms the ways inwhich Playmobil promotes social, racial and everyday texts andpractices. Thus, vanLeeuwen hasanalyzed texts andartifactshow itislegitimated andnaturalized in in identifyinghow itisinscribedincontemporary multimodal Power isat thecenter of hisanalyses, sinceheisinterested systems. That iswhat makes hiswork fascinating. lives –andhow everyday lives are shapedby thesesemiotics (ordinary) people usethesesemiotic resources intheireveryday traditional semioticians’ focus onthetext, healsoanalyzes how trivial, texts, objects andpractices. And, breaking withthe of analyzingpolitical importance (apparently) apolitical, even kind of texts canbeproduced. Inthisway, hedefends the what kind of semiotic resources are available to usandwhat understanding how thesesemiotic systems work, inventorizing practices. Van Leeuwen’s writingshave beendevoted to and constraints” (VAN LEEUWEN, 2008: 161)that guide social 2013). These are allsemiotic systems, “a mixture of affordances LEEUWEN, 1999)andsoftware (DJONOV and VAN LEEUWEN, (VAN LEEUWEN, 2006; VAN LEEUWENet al., 2013), music(VAN LEEUWEN, 2003; VAN LEEUWEN, 2008: 149-162), typography (VAN LEEUWEN, 2005), toys (CALDAS-COULTHARD and VAN LEEUWEN and JAWORSKI, 2002; VAN LEEUWEN, 2005), spaces (KRESS and VAN LEEUWEN, 1996; VAN LEEUWEN, 2001; VAN is very relevant for ourown project, “The visual motifs inthe the kindsof texts analyzed inpoliticalcommunication), his work Although vanLeeuwen hasnot tackled openly politicaltexts (i.e. and shapingsocialrelations andhierarchies. analyzing therole of daily signifyingpractices inlegitimating on socialsemiotics andiconography asresearch methods for this interview, vanLeeuwen goes over hiswork andreflects contemporary images, such asthoseof advertising. Throughout it canbeauseful method for behind identifyingtheideology DOI: 10.31009/cc.2019.v7.i12.05 71 Vol. VII Interview comparative cinema No. 12 MERCÈ OLIVA 2019 The political relevance of “almost trivial-looking things”. https://orcid.org/0000-0002-6812-737X An interview with Theo van Leeuwen T V L T V M O represented intheSpanishmedia. Inother words, we want is to carry outaniconographic analysis of how power is Cinema public sphere”, andfor thismonographic issueof to what often happens withother forms of semiotic analysis, number of thingsthat immediately interested me: incontrast broad view of semiotics andIrealized that thisbrought ina English writer onfilm. Wollen includediconography inhis iconography, avery long timeago: Peter Wollen (1972), the It was actually asemiotician whodrew myattention to iconographic analysis? and what istherelationship between socialsemiotics and the relationship between contemporary images andpower, do you thinkiconography canplay asamethod for analyzing semiotics andiconography asresearch methods. What role I’d like to thisinterview start by talking alittle aboutsocial reflections. them isto establish adialogue withvanLeeuwen’s work and of thesefour visualsequencesandthetexts that accompany selected andcommented onby theinterviewer. The mainaim presentation, thepoliticianindisguise andthefallen statue), content of theinterview (thebourgeois portrait, thePowerPoint of images that correspond to four visualmotifs related to the Moreover, thisinterview isaccompaniedby four sequences potential of memesandhumorto challenge thesocialorder. represent themselves inthepublicsphere, aswell asthe asked himto reflect onhow politiciansandsocialmovements and memes. That iswhy, of theinterview, inthelast part we paintings, films, documentaries, celebrity gossip magazines and presence throughout abroad range of texts, such as economic andjudiciaryinstitutions andto identifytheirorigin to identifywhich visualmotifs are usedto represent political, But Ialsosaw already at thetime that there was a difference context. That was very exciting asamethod. texts butalsohistorical documents, to flesh outthesocial work, interms of looking at different kindsof sources, not only was that, as aresult of this, of itwas amultidisciplinarysort combines text andcontext. The secondgood thingaboutit context. So, thegood thingaboutthat approach was that it of course, withaniconography that was primarily historical which only look at thetext, healsolooked at thecontext – , for anumberof reasons. The mainaimof thisproject DOI: 10.31009/cc.2019.v7.i12.05 Comparative Comparative 72 Vol. VII Interview comparative cinema No. 12 MERCÈ OLIVA 2019 The political relevance of “almost trivial-looking things”. https://orcid.org/0000-0002-6812-737X An interview with Theo van Leeuwen the resources that are generally available for people to use, other modes of communication, are tryingto understand particularly whenthey comefrom thestudy of language into between semiotics and iconography. Semioticians, Gainsborough’s power of nation-states, to thepower of capitalism. Think of history you canseeitalignedto thepower of religion, to the representation –isalways associated withpower. Throughout And regarding power, visualrepresentation –indeedall history of visualrepresentation. seen inother periodsaswell asinthewhole subsequent suggests that perhapsthesamekindof themescould be and conceptual processes. Andthen, inafootnote, Schapiro Reading Images exactly thesamethingthat Gunther Kress andIdiscussedin about of state”“theme and of action”,“theme which is profile, andfinally they were represented in “x”. So, hetalked the figures were of sort static andfrontal, thenthey became how itstarted to bepainted, represented, differently: first scenefroma particular theBible timeand at aparticular and Pictures the great historian art Meyer Schapiro, inhisbook that, butthenitwould only beinafootnote. For example, ones andeveryday onesaswell. Andsometimes they saw resources of visualcommunication for designers, brilliant and how they andparcel becamepart of thewhole available periods,important andnot how conventions grew after that astheinventionart of insomeparticularly fertile someartist describe asystem. Butontheother hand, historians art see things began–which linguists have noideaabout; they just periods, sothey could discover why thingsbeganandhow historiansart would look at orspecific specificartists whether they are poets oreveryday letter-writers. Whereas representations. kind of symbolic attributes of power incontemporary visual such unless we study it, and which ussimilarly alert to the paintings that we don’t necessarily immediately recognize as looking at attributes of power which were usedinearlier power. history, Art again, canoften help to show that by of representation that subtly ormore directly challenge their property. Andat thesametime, there canalsobeforms (1973), which isavery good book, talks about Mr. and Mrs. Andrews (1996): we talked aboutnarrative processes , standing infront of DOI: 10.31009/cc.2019.v7.i12.05 Words Visual sequence 1: The bourgeois Historically, bourgeois portraits have portrait as a legitimation of capitalist served to legitimate capitalist institutions and values, such as marriage and private heteropatriarchal institutions property. Today, these kinds of images – showing a couple posing in front of their home, garden and properties – populate celebrity gossip media, such as Hello! In these images, stars and celebrities em- body the “myth of success”, the idea that capitalist societies are “sufficiently open

comparative cinema comparative for anyone to get to the top, regardless of rank” (DYER, 1979: 42). These images show the existence of acute social and economic inequality, while at the same time legitimizing it through an individua- listic discourse that explains inequity as Mr. and Mrs. Andrews (Thomas Gainsborough, 1749) the consequence of personal success and failure.

The filmBlue Jasmine (Woody Allen, 2013) and the documentary The Queen of Versailles (Lauren Greenfield, 2012), both made during the economic recession that followed the crash of 2008, revisit this very iconography of the bourgeoisie portrait to offer a critical commentary of the ideology behind it. The Queen of Versailles features Jacqueline and David Seagal, a married couple building the biggest house in the US. The first sequence of the documentary shows, precisely, a photo shoot in which the couple poses for the camera while 73 sitting in a golden throne in the middle of a luxurious room, reproducing the images that fill up celebrity gossip media. In the Sofia Vergara and Joe Manganiello Hola!( USA, next sequences, they conspicuously dis- January 25th 2017) play their economic capital: a boat, a pri- vate plane, a mansion with 17 bathrooms. The film progressively shows what is behind these images of luxury and wealth, highlighting that the Seagal’s empire is constructed upon a timeshare property business that sell vacation homes to wor- king class families. Thus, the documentary shows the speculative practices through which neoliberalism fosters a concentra- tion of wealth and power upwards (ALLEN et al., 2015), deepening even more the inequalities between the elites and the oppressed groups. Blue Jasmine is built upon this same idea, by comparing the luxurious lifestyle of Jasmine in the past – pointing to the tradition of the bourgeois Blue Jasmine (Woody Allen, 2013) portrait – with the life of the working class. And, as The Queen of Versailles, the film also shows how the accumulation of wealth by the economic elites is built upon speculative practices and unethical schemes. But although these two films apparently denounce inequality, they also foster the idea that the crisis can be understood as a moral corrective to an era of irresponsibility, hiding the idea that, in Interview MERCÈ OLIVA things”. trivial-looking “almost of The political relevance Theo vanLeeuwen with An interview fact, the crisis was a new opportunity for elites to accumulate wealth, while ordi- nary citizens faced the consequences of 2019 the recession. Vol. VII Vol.

Núm 12 The Queen of Versailles (Lauren Greenfield, 2012) Mercè Oliva https://orcid.org/0000-0002-6812-737X DOI: 10.31009/cc.2019.v7.i12.05 74 Vol. VII Interview comparative cinema No. 12 MERCÈ OLIVA 2019 The political relevance of “almost trivial-looking things”. https://orcid.org/0000-0002-6812-737X An interview with Theo van Leeuwen T V L T V M O films, naturalized andlegitimized, andthat analyzing thehistorical stereotypesupon which certain andmoral explanations are antidote for the “genesis amnesia” (VAN LEEUWEN, 2008: 110) You have argued that thiskindof historical analyses canbean statue of ahalf-naked Javanese girlontheir mantelpiece. never went to acafé orcinema, butthey hadalittle wooden enormously frugal protestant people intheNetherlands who that. To recount apersonal anecdote, mygrandparents were maintaining stereotypes. Andpeople are not always aware of frivolous butare nevertheless there andplay abigrole on that are onthesideof entertainment, which are apparently of representations are still today found intexts and genres colonial era incontemporary advertisements. These kinds to findthose very old racial stereotypes that started inthe for granted andnot questioned. Therefore, itwas surprising thingscanberepresented,in which certain they are taken They have becomestereotypes that are almost theonly way on inmany different areas andoften withoutmuch change. discourses have beendiscredited. Butvisually, they continue of thingsanymore, andpeople don’t say themanymore, those that was happening at thetime. You cannot say thosekinds more importantly, alegitimation for thecolonial enterprise That was considered to bescienceandthat was also, and on thebasisof physical characteristics that they described. described inquite blatant terms Africans asaninferior race measured skulls from thelate-18th centuryonwards –they you might callvery early anthropologists –thosekindsthat mentioned, ifyou look, for instance, at thewritingsof what If we take asanexample theracist images that you these images? Could you of analyzing talkabouttheimportance theoriginof with racist images inDutch (VAN advertising LEEUWEN, 2001). origin of contemporary images canbeuseful. You didthat sort of mean-spiritedsort second-hand dealer namedWatto. I representation.shorthand For example, oneof the from andthey seemto beanaccepted reality, anaccepted since people donot know where theserepresentations come Those kindsof almost trivial-looking thingsare important, Indonesia. inthewholeparticipating enterprise of thecolonization of Thus, inthat way, even very ordinary people were unknowingly The PhantomMenace (George Lucas, 1999), depicts a DOI: 10.31009/cc.2019.v7.i12.05 Star Wars

compared it with a picture that is a hundred years old from a European satirical magazine, which is an anti-Semitic picture, and they were almost identical, every single detail, it was very striking (Figure 1). comparative cinema comparative

Figure 1 Left: Star Wars: Episode I: The Phantom Menace (George Lucas, 1999). Right: Anti-Semitic caricature, 1873

And it is not just in images where you find it. I wrote a book 75 about interviews (BELL and VAN LEEUWEN, 1994) where I described the origin of radio broadcasts. Long speeches, as they were held for live audiences, were not suitable for a medium like the radio, so they began to experiment with other formats, by having the speech interrupted by a questioner or getting somebody into the streets to do a vox pop… Eventually, it developed into various formats. Broadcasters writing about interviews happily say that interviews started with Socrates and have always existed, but they forget how they came about in a particular era. Moreover, radio interviews had a very big influence on changing the way we use language in conversational genres and on introducing a different tone into politics. Think of Roosevelt’s fireside chats, or when Goebbels wrote that radio people had to speak in local dialects, etcetera. Eventually, radio interviews changed the tone and the nature of public discourse.

M O You were talking about the importance of analyzing the apparently frivolous or trivial, and I think that this is one of the most interesting things about your work: you take multimodal discourses that are apparently apolitical and Interview MERCÈ OLIVA things”. trivial-looking “almost of The political relevance Theo van Leeuwen with An interview 2019 No. 12 No. Vol. VII Vol.

https://orcid.org/0000-0002-6812-737X DOI: 10.31009/cc.2019.v7.i12.05 76 Vol. VII Interview comparative cinema No. 12 MERCÈ OLIVA 2019 The political relevance of “almost trivial-looking things”. https://orcid.org/0000-0002-6812-737X An interview with Theo van Leeuwen T V L V T T V L V T M O is therole of these “everyday” texts inthelegitimization of legitimize andsustain powerbehindit. andtheideology What toys orMicrosoft PowerPoint) andyou analyze how they neutral (such asthe design of offices andclasses, textbooks, of andpublicrelations advertising rather thanpolitical world of entertainment, andpoliticiansusethelanguage and, inatimewhensomuch of politicshasmigrated to the than linguistic forms andto those new kindsof discourses pay relatively less attention to thingsthat take other forms look at politicalspeeches, butIhave alsonoticed that people Critical Discourse Analysis andIthinkisquite to important to bedoinganything. Ihave beenvery closely involved with There thingsaboutwhich might nobodyseems beimportant important. and why thepictures that circulate every day are alsovery era ishappening allthetimewithneoliberal discourses) everybody, theterminology, (which isvery inour important the creation of words that eventually get to bespoken by the status quoof theway we organize reality. That iswhy the environment inwhich we live. That, by nature, creates politicians buttheeveryday language that we useto log language that we use: not necessarily thearguments of the that the most powerful form of legitimation istheeveryday Construction of Reality wrote interestingly aboutlegitimation inthebook and that iswhat theultimate aimis. Berger andLuckmann then they are not questioned, they are of notthedebate, part way that they seemquite anatural of how part theworld is, The question gives theanswer… Ifthingsare legitimized ina power? getting more andmore visual), andwe hadsaidnothing about had saidnothing abouttypography, which isalsovisual (and I woke uponeday andIrealized that inthiswhole book we communication withGuntherKress, andteaching inCardiff For instance, Ihadalready written thebookonvisual know how to talkabout anddonot know what to say about. But also, quite simply, Iamintrigued by things Idonot things are important. argument anddebate to communicate withpeople, these How doyou choose theobjects of study for your research? (1967). They emphasized thefact DOI: 10.31009/cc.2019.v7.i12.05 The Social The Social 77 Vol. VII Interview comparative cinema No. 12 MERCÈ OLIVA 2019 The political relevance of “almost trivial-looking things”. https://orcid.org/0000-0002-6812-737X An interview with Theo van Leeuwen T V L V T L V T M O M O Sometimes I also work on certain things because it can help Sometimes thingsbecause Ialsoworkitcanhelp oncertain intrigued, andItriedto finda way to talkaboutit. visual. Ijust realized typeof anenormous ignorance. Iwas decoration –aboutfabric, wallpaper, carpets, etc. That isalso Your work isvery much focused onunderstanding how which they are used. a broader view of texts inthecontexts andthepractices in black background andthesered letters, andsoon. We canget decide itfor themselves, how they got theideato usethis to useit, ifthey have to follow corporate formats orthey can it, whether there are any rules intheirenvironment asto how and why: talkingto people andasking themhow they learned can you dowithPowerPoint andhow people actually useit And thesamethingapplies to PowerPoints. Studyingwhat LEEUWEN, 2008: 149-162). and VAN LEEUWEN, 2003), BarbiesandPlaymobils (VAN regarding toys such asteddy bears (CALDAS-COULTHARD You have alsotalked abouttheconcept of “kinetic design” way they are taken upby people. to investigate thesemiotic linkbetween theresources andthe different toys are mixed up. Therefore, itseemedafine topic with sixchildren, andhow itwas usedat home, where allthe get just onekindof Playmobil for anhourontheactivity table Playmobil isusedintheschool, inkindergarten, where they done indifferent contexts. That iswhy we compared how them and, even more interesting, you canseewhat isbeing can analyze thepotential of toys andwhat isbeingdonewith see how they are interpreted, how they are played with. You the reasons why Iwanted to study toys was because you can to move thetheoryforward. For example, withtoys. Oneof relevance of what you are doing. AsIhave saidinmywork obviously atheoretical step. You want to establish the Let’s take PowerPoint for anexample. The first step is How doyou analyze multimodaldiscourses? of wars, software). How doyou proceed intheseanalyses? offices, toys, the representation of socialactors, the depiction repertoires are organized withinthem(framing inthedesignof semiotic systems work andhow thesemiotic resources and DOI: 10.31009/cc.2019.v7.i12.05 78 Vol. VII Interview comparative cinema No. 12 MERCÈ OLIVA 2019 The political relevance of “almost trivial-looking things”. https://orcid.org/0000-0002-6812-737X An interview with Theo van Leeuwen so on. way, Butinacertain that hasbeendecidedby some available thingssuch asanimation, texture, typography and PowerPoint isavery different language that hasmade on new writing”“the (DJONOV and VAN LEEUWEN, 2013), sometimes that people close themselves off into observation see what isthere andhow itisbeingorganized. Itworries me You have to analyzing start witharelatively openmindto like that. looked at how people useditandasked themwhy they usedit were possible andtriedto understand why. After that, we more irregular, etcetera. So, we inventorized what operations you could do: you could make thetexture finer, more regular or Then we realize that there were manipulations that certain that you could choose, such asmarble, birch, you nameit. texture, first we identifieda lexicon ofdifferent backgrounds is available withafairly openmind. For example, regarding The secondstep islooking at it, tryingto inventorize what the relevance. basically basedonclassifyingthingsandmakinglists. That is not soeasy, you get kindof discourse, aparticular which is the system makes somethingseasy to doandsomethings of practice withoutany apparent force. Yet, because of theway thingaboutPowerPoint:the important we get ahomogeneity people doeven thoughyou don’t have to. That seemedto me bullet points, andeven thoughsomepeople don’t, still most to thosecontexts we allhadto adapt to it: we allhave to use it got usedinmany other contexts, andrather thanadapt it few points, andthat’s the “bullet points”. Then, subsequently, money for aproject. So, they hadto pitch theideaquickly, ina laboratories for theengineers to pitch to themanagement for started –andthehistory there isimportant too –intheBell being adifferent kindof resource. PowerPoint originally designers, anditgets unilaterally changed onceinawhile, various hypotheses: we said “Okay, isitthepresent andthe goes at thebottom… For example, for left andright we made at many pictures of different kinds: what goes ontop, what (the top, theleft, theright, themiddle…). We started by looking we wanted to analyze where thingsgo onapage orascreen necessarily seeat first sight. For example, in them to thingsthat are alsothere, andwhich you might not what seemsto bevery visible andanalyzing thismight blind a little bittoo much before they theresearch start by picking Reading Images DOI: 10.31009/cc.2019.v7.i12.05

Visual sequence 2: PowerPoint and On April 30th 2018, Israeli Prime Minis- the changing forms of the public dis- ter Benjamin Netanyahu held a press course under neoliberalism conference to denounce Iran’s alleged secret nuclear program. In the media reports, Netanyahu appeared holding a microphone while standing in front of a gigantic screen showing a PowerPoint presentation. The presentation inclu- ded diagrams as well as short mes- sages (“Iran lied”, “The nuclear deal comparative cinema comparative is based on lies”). The ascetic design of the slides (black letters on white background) and the font used (Times New Roman) connoted rationality and factuality, while the size of the letters and the short but blunt statements added a more emotional tone. This is a Netanyahu press conference (Sebastian Scheiner/AP, good example of how PowerPoint has April 30th 2018) transformed public discourse in seve- ral fields, from politics to the judiciary system. PowerPoint has also introdu- ced a new visual motif: the image of the Netanyahu press conference refers back to images of technological gurus and motivational speakers. Tellingly, self-help and business are the two paradigmatic fields in which this visual motif has developed, merging the “new writing” of the bullet points with the Steve Jobs (Danny Boyle, 2015) figure of the entrepreneur, which pro- 79 vide the model to the new ideal citizen under neoliberalism: citizens must become “entrepreneurs of themselves” (ROSE, 1998), they must work conti- nuously on themselves to accrue value and construct themselves as a brand. The visual motif of the speaker in front of a presentation has also been exa- mined in contemporary films such as Little Miss Sunshine (Jonathan Dayton and Valerie Faris, 2006) and Steve Jobs (Danny Boyle, 2015). But while Little Miss Sunshine offers an ironic portrayal of the motivational speaker as a figure upon which the American dream is constructed, Boyle’s film offers a much more ambiguous stance. The narrative of the film is constructed Little Miss Sunshine (Jonathan Dayton and entirely around Jobs famous public Valerie Faris, 2006) presentations of new products, eliding the presentations themselves and only showing the final moments of prepara- tion and testing before they begin. By doing that, Boyle paints a portrayal of one of the technology moguls that has helped create this visual motif. It also shows a critical portrayal of Jobs (ego- centric, perfectionist, despotic), but at the same time the film cannot help

Interview MERCÈ OLIVA things”. trivial-looking “almost of The political relevance Theo vanLeeuwen with An interview showing admiration for a character that embodies every aspect of the new neoliberal enterprising culture. 2019

Vol. VII Vol. OJ Simpson. Made in America (Ezra Edelman, 2016) Mercè Oliva Núm 12

https://orcid.org/0000-0002-6812-737X DOI: 10.31009/cc.2019.v7.i12.05 80 Vol. VII Interview comparative cinema No. 12 MERCÈ OLIVA 2019 The political relevance of “almost trivial-looking things”. https://orcid.org/0000-0002-6812-737X An interview with Theo van Leeuwen T V L V T M O in specificcontexts. Sometimes itisclearer. For example, to and which canbethenrefined whenpeople usethe resources insight as to what themeaningpotential of thoseelements is, future ontheright?” Andvery gradually you to start come to an language. So, you can talkaboutpeople by nameoryou can simple method sinceitdraws onmany different resources of we canrepresent people. Irealized that there was not a wanted to investigate how we cantalkaboutpeople, how analytical study, withapractical analytical purpose: I That inquirystarted asalinguistic study, acriticaldiscourse distance regarding theobject/subject represented. 148) you andhorizontal talkaboutvertical angles, aswell as example, in multimodal discourses to represent socialactors? For What are themainvisualsemiotic resources usedin resources to understand language how aparticular works. You were talkingaboutinventorizing alltheavailable forms ofthat articulation you dealwith. what are actually theattributes of thevery material orthevery cases you have to look at what Icalltheexperimental method: reference point(we could callitconnotations) butinother see very clearly that insomecases there isaclear cultural cultural history. For example, whenyou study color you And sometimes you have to look at meaningsinterms of images, too. it isnot surprisingthat itishappening inthecompositionof a very universal device withwhich that meaningis made, and and theheadisuphere, isdown, theearth theskyisup… Itis the work of cognitive metaphor theory: thefeet are down there such agrounding inhumanexperience, ashasbeenshown in talk abouttop andbottom isalittle biteasierbecause ithas ways you cantalkaboutpeople. Butalso, you cansay how to get a complete overview of theresources, of thedifferent is manipulated indiscourse. So, theaimof that research was terms basedonthosethings. The matter iscontext andhow it of what they do. People canbeconsidered invery different (as difficultasthat is), or you cantalkaboutthemin terms they supposedly are, for example, interms of gender orrace or asindividuals, you cantalkabouttheminterms of what keep itanonymous, you cantalkaboutthemasacollective Discourse andPractice (VAN LEEUWEN, 2008: 136- DOI: 10.31009/cc.2019.v7.i12.05 81 Vol. VII Interview comparative cinema No. 12 MERCÈ OLIVA 2019 The political relevance of “almost trivial-looking things”. https://orcid.org/0000-0002-6812-737X An interview with Theo van Leeuwen T V L V T M O all thesame, which ispatently not true. Also, inAustralia we media, Muslimsare constantly represented asifthey were were allthesameis important. For example, nowadays inthe it isthat significant, why ifpeople are talked aboutasthey they are alsoamatter of how people are putinto spacesand a matter of allthosepictures that you canget on today are not only amatter of language, they are not even only clear that theneoliberal ideasthat are sodominantinsociety timings, of objectsconcrete andallsorts things. So, itisvery actual people whodoit, thesocialactors, butalsoto spaces, been related to not just theactual thingsthat we doandthe I realized that practices, thethingsthat we do, have always this question? classrooms andoffices. Could you talkalittle bitmore about design shapingtherelationships of people populating And what aboutspace? You have analyzed therole of the texts.important that ithasbeenuseful to look at what happens inpolitically is becominggradually) more multimodal. Anditisniceto see a research that started asalinguistic study, butitbecame(and themes are related tokindsof characters. particular So, thisis are many forms of music, inopera andinfilm, where particular represent people visually orwithtoys oreven withmusic. There But we canalsotake astep furtherandlook at how you can to look at. backgrounds… That isaquestion that ispolitically important how many nations there are, withdifferent languages, a mapof theaboriginalnations inAustralia, itisastonishing there are differences enormous amongthem: ifyou have seen very general statements aboutaboriginalpeople, andinfact see itallthetimewithaboriginalpeople. People canmake there are thecheap shops, while at thetop there are jewelers, Victoria Building) that hasdifferent stories: right at thebottom interesting study of abigshopping center inSydney (Queen buildings precisely from that pointof view. They have avery by Louise J. Ravelli andRobert J. (2015) analyzing McMurtrie spaces In mywork Ihave given someindications asto how to analyze in spaces. what spaceslook like. Power is alsovery strongly represented 1 , butrecently somevery good work hasbeendone DOI: 10.31009/cc.2019.v7.i12.05 Getty Images Getty , 82 Vol. VII Interview comparative cinema No. 12 MERCÈ OLIVA 2019 The political relevance of “almost trivial-looking things”. https://orcid.org/0000-0002-6812-737X An interview with Theo van Leeuwen T V L V T M O L V T M O decor, sothedifferent levels are still connected insomeway. I should add that this shopping centerof hasasort Victorian and soon. Butthey have escalators, alsomademodern and expensive clothes shops, therestaurant haswhite tablecloths There isstill a regimentation but of adifferent kind. There is they still have thesamecostumes on, thesameApple t-shirts. Nevertheless, ifyou go to anApple store, they still have to sell, professional... example theideaof flexibility, themixture of theprivate and (such asGoogle headquarters) andneoliberal work, for There isalsoarelationship between contemporary offices say, butalso(andespecially) how we dothings. embedding oureveryday ritualsandhabits: not only what we those elements are interesting thingsto study, sincethey are leisure, andallof thisisreflected inhow houses look like. All between theprivate andthepublicbetween work timeand of other examples aswell: today there isabigger mixture of how part lifevery isorganized. important Andyou canthink it created better workers, more docile workers. Ithinkitisa they could beseenallthetime, butthemanagers saidthat receiving end, at thebottom, hated itandcomplainedthat Introducing SocialSemiotics dispositions andsubjectivities. AsIindicated inmybook are alsomajorchanges indesignthat tryto work onpeople’s to sitat thesametable, they cannolonger own things. There longer beindividuals, they have to work inteams, they have or elevation, butalsodistance andvisibility. People canno that are whenanalyzing very important them: not just height And regarding offices, nowadays there are variousthings of society. So Ravelli analyze andMcMurtrie how spaceconfigures layers policemen, farmers… Whodon’t we have? That was thefirst this was actually alittle world of socialactors: we’ve got Regarding Playmobil, Istarted looking at itbecause Ithought society? objects of study. What dotoys such asPlaymobil tell usabout As you mentionedearlier, toys have alsobeenoneof your the appearance of casualness. (2005: 14-23), people at the DOI: 10.31009/cc.2019.v7.i12.05 question I asked myself. But then I discovered other things. I discovered, for example, that you could buy a box that was called “the family” that included a father, a mother and two children, all with different color hair – so they were a little bit

comparative cinema comparative individuated, despite the fact that they were very basic little figures. And you could also buy a box called “the ethnic family”; they were probably well-meaning with that, but the box included three children, the mother had her hair in a bun rather than loose long hair2, and they were not individuated in the same way as the Caucasian family by all having the same color skin and the same color hair (Figure 2). Also, you could buy a box with a man in a car, who was exactly the same character as the father of the family, but you could not buy the mother in a car or the ethnic father in a car. So, I began to see certain funny little things that indicated that there was a structure behind this, and I felt that I had to write about it. And then, of course, when children play with it, they can subvert it in many different ways. Nevertheless, I think that somehow those things leave a little bit of an impression on their minds in a certain kind of floating attention to these 83 things. I think it does have some influence. Although Playmobil still has realistic toys for very young children, since I conducted this study they have become more and more like imaginary worlds: fairy-tale characters, characters you don’t really see in the streets. You really need to follow up with another study that looks at how that is structured, what kind of characters you have there, what kind of men and women, physical characteristics, and whether it is the same thing in a different guise or there have been significant differences.

Figure 2 Interview MERCÈ OLIVA things”. trivial-looking “almost of The political relevance Theo van Leeuwen with An interview 2019 No. 12 No. Vol. VII Vol.

https://orcid.org/0000-0002-6812-737X DOI: 10.31009/cc.2019.v7.i12.05 84 Vol. VII Interview comparative cinema No. 12 MERCÈ OLIVA 2019 The political relevance of “almost trivial-looking things”. https://orcid.org/0000-0002-6812-737X An interview with Theo van Leeuwen T V L V T M O T V L T V M O your own work andinthework inthefield of socialsemiotics? do you thinkisthelegacy of Barthes’ texts andobjects, instead of overtly politicaldiscourses. What You have highlighted of analyzing theimportance everyday portray themselves? about thestrategies that thepoliticalactors useto visually isshapingpolitical discourse.advertising What doyou think entertainment andpoliticsare merging together and talking abouthow we are livinginapopulist time, inwhich institutions useto portray themselves? Earlieryou were what strategies doyou thinkpolitical, judiciaryoreconomic which images are inconveying very important messages, you aboutmore overtly politicaldiscourses. Inatimein I’d like to thelast start section of thisinterview by asking aspects of culture. from thefocus onhighliterature to andhighart thoseother read that bookanditwas adiscovery that drove meaway objects analyzing. asbeingworth Iwas quite young whenI line andheset thesceneto beable to study thoseeveryday society. Hereally was thefirst criticalmultimodalist inthat power of thebourgeois (ashe would norm have putit)in an ideological critiqueof theseelements. Hepointed to the only talked abouthow meaningwas made, healsodeveloped wine, bottle cards, soappowders, you nameit! Andhenot a topic that hehasnot analyzed: hestudied toys, plastic, He tackled anastonishing variety of objects, there ishardly objects andmaterials inaway that nobodywas doingthen. I amdoing. Hislegacy isone: hedrew attention to everyday Barthes’ political, butitis. of saw what theimportance doesnotBarthes seemto be being created. For example, inAustralia there isadebate right it happens alsoallthetime, in photo that opportunities are work. That happens particularly inelection campaigns, but they do, such assports. None of it is related to theiractual enterprises, visitingschools, greeting children, orby thethings guises orby environments, appearing incertain such asin try to appeal to citizens by showing themselves indifferent countries where Ihave lived you findthat politicians often I don’t quite know aboutSpanishtelevision, butinthe Mythologies wasof at ofthings thestart sorts Mythologies DOI: 10.31009/cc.2019.v7.i12.05 (1957) in (1957)in 85 Vol. VII Interview comparative cinema No. 12 MERCÈ OLIVA 2019 The political relevance of “almost trivial-looking things”. https://orcid.org/0000-0002-6812-737X An interview with Theo van Leeuwen T V L V T M O are important, we seeapolitician(former Australian Prime politicians have ingetting votes from areas where themines producing electric energy from coal. Because of theinterest now about thefact that thegovernment wants to continue Regarding how people portray themselves, we cantalkabout something that hasbeenstudied alot inmediastudies. is alsoanissueof how they are beingportrayed. That is There isanissueof how they portray themselves, butthere challenge power? do you thinkthey have usedto represent themselves and supporters of Catalonia’s independence). What strategies and movements (such asOWS, theIndignadosinSpain, policies, citizens have organized publicdemonstrations coinciding withtheeconomicrecession andausterity And what aboutcivilmovements? Duringthelast ten years, also acontributionto make. things to theforeground, particularly inteaching. Teaching is hope. Myown feeling there isthat you have to bringthese as Jeremy Corbyn Sanders. andBernie So, we are not without to people whotalklike politicians, instead of celebrities, such that younger people especially are still interested inlistening Of course, there are counter-movements to that. We have seen debate. preferably, onentertainmentprograms rather thaninaserious of”. They like to create thosekindsof images orto appear, sporty, Ienjoy aglassof beer, andthisiswhat Iaminfavor a debate. That isanattempt to say “I amaguy like you, very electrical energyfactory where coalisbeingused. That isnot organized to bephotographed inthat guise asheridespast an Minister Tony Abbott) inabicycle takingpart ride, which was but get little publicattention. Nevertheless, demonstrations certain cango onfor long time there anddisturbing everyday life canchallenge power. media andforms of communication. Ofcourse, beingvisibly same. Butat thesametime, itcanalsochallenge traditional social mediaisthat itcreates bubbles of people whothinkthe social media. Andoneincreasing realization we have about DOI: 10.31009/cc.2019.v7.i12.05 Visual sequence 3: Politicians in disguise 20 years ago, Blumler and Kava- nagh (1999) claimed that we had entered the “third age of political communication”, as a consequen- ce of the changes that media were undergoing (digitalization, commodification of content, increased commercial competi- tion…) and the influence of media languages, formats and practices comparative cinema comparative on political communication. Ac- cording to them, one of the traits of this third age was that “politi- Tony Abbott riding past Yallourn Power Station (Victoria, cians are likely to seek to de- Australia). (Aaron Francis/The Australian, April 9th 2018) monstrate […] their ‘regular guy’ qualities” (1999: 224). This trend, viewed as a part of an anti-elitist turn, includes politicians strate- gically showing certain aspects of their private sphere and lifestyle and a performance of emotional “sincerity” (OLIVA et al., 2015). Tony Blair appearing on the cover of Hello! to present his new-born son while he was the British Pri- me Minister, Bill Clinton playing the saxophone on The Arsenio Bill Clinton on The Arsenio Hall Show (1993) Hall Show, Obama dancing on Ellen and Justin Trudeau sharing photos of his family on Instagram 86 are all images that have created the visual motif of the politician disguised as an ordinary citi- zen, a motif also developed in TV series such as House of Cards. The visual motif of the politician portrayed as a “regular guy” is not dissimilar from the image of the mogul dressed as a worker featu- red in the reality TV show Under- cover Boss (CBS, 2010-). Each program includes the ritual of the makeover, in which the “boss” is transformed and adopts the social markers of working-class- ness to later infiltrate and moni- Justin Trudeau/Instagram tor their workers. Nevertheless, here the main aim is not to reduce the difference between elites and regular citizens, but to highlight it: on the one hand, the “boss” is portrayed as not having the skills necessary to do the job their wor- kers are doing, but at the same time, the program underlines his power, as well as legitimizing it by representing him as charitable and altruistic. Mercè Oliva Interview MERCÈ OLIVA things”. trivial-looking “almost of The political relevance Theo vanLeeuwen with An interview House of Cards (David Fincher/Netflix, Season 4, 2016) 2019 Vol. VII Vol. Núm 12

https://orcid.org/0000-0002-6812-737X DOI: 10.31009/cc.2019.v7.i12.05 87 Vol. VII Interview comparative cinema No. 12 MERCÈ OLIVA 2019 The political relevance of “almost trivial-looking things”. https://orcid.org/0000-0002-6812-737X An interview with Theo van Leeuwen T V L V T M O T V L V T M O ness’” (VAN LEEUWEN, 2008: 157). not. Asaresult, older woman andblack woman lack afeature of ‘female attractive 2/ “Older women andblack women wear theirhairinabun; younger, white women do 1/ See, for example, VAN LEEUWEN, 2005. example that just happened here inAustralia that hasstirred Visual things, what people do, have agreat influence. One demonstrations? Do you element inthese thinkthevisual isanimportant look different, andthat isthebeginning of thejoke. ButFreud see alot of deviants, people that look different orthat are made about because itdoesn’t follow thenorm. Andinmemesyou deviant that doesnot follow andwhich thenorm we laugh comic, which isbuilt uponwhat istoo (1960, first publishedin1905). Itdistinguishes between the book by Freud called that hasever beenwritten abouthumorisahundred-year-old sexist. AndifIwere to analyze memes, Ithinkthat thebest thing time, itcan alsodoquite theopposite. Itcanbequite racist and are plenty of Donald Trump memesaround), butat thesame can challenge power andsocialorder (andof course now there about everyday smallthings, butthething abouthumoristhat it is oneessenceof it. Many are not allthat political, they are I have not worked onmemes. Obviously for themto behumorous What are theirpotentiality to challenge power andsocialorder? these multimodaltexts? How domemeswork semiotically? Finally, I’d like to talkaboutmemes. What doyou thinkabout this debate to thepublicsphere. Although itdoesnot convince other people, itcertainlybrings power,a certain from apart what they are meantto have. people. Those images upset andchallenged people, andhave discourse that hasto dowiththesubjugation of aboriginal years. So, thesegraffiti contest historical aparticular of Australia –whenAustralia hadalready existed for 60,000 statues of James Cook, whoissupposed to bethebeginning up abigdebate, isthat people are puttingpoliticalgraffiti on and itdoesn’t change theworld. happens, butof course isultimately aform of copingandrelief the teachers andtheschool system. That isagood thing, andit memes inwhich kidstalkaboutschool inaway that questions is repressed to beexpressed. For example, you cansee alot of also recognized thekindof humorthat allows something that Jokes and theirRelation totheUnconscious much ortoo DOI: 10.31009/cc.2019.v7.i12.05 little : the - Visual sequence 4: Fallen statues Painting a statue as an act of pro- test is an interesting variation on this visual motif of “the tearing down of a statue” (BALLÓ, 2018). From prints of the French Revolution to the tearing down of Saddam Hus- sein’s statue in Baghdad, from Octo- ber (Oktyabr, S. M. Eisenstein, 1928) to Ulysses’ Gaze (To vlemma tou Odyssea, Theo Angelopoulos, 1995)

comparative cinema comparative and Good Bye Lenin! (Wolfgang Becker, 2003) this visual motif has been used to represent the end of a regime and the beginning of a new era. Science fiction has also used Statue of James Cook in Melbourne (Nicole Garmston/ the visual motif of the fallen statue, News Corp Australia, January 25th 2018) especially the Statue of Liberty, to signify the end of times. Cloverfield (Matt Reeves, 2008) uses the se- vered head of the Statue of Liberty lying in the middle of a street as the starting point of a narrative about a deadly attack by aliens. In this case, the fallen statue means irreversibi- lity, but the motif is separated from the idea of resistance and is connec- ted to the imaginaries of the risk so- ciety (BECK, 1993), in which citizens are not agents of social change, but Detroit: Become Human (David Cage/Quantic Dream, the victims of catastrophes without 2018) any clear cause and which affect everyone. 88 If tearing down or destroying a statue is an irreversible act, then transforming it is an act of protest, a semiotic guerrilla act that trans- forms the meaning of the statue, and the hegemonic historic narrative that it conveys. This visual motif also has been developed in popular texts, such as the video game Detroit: Become Human (David Cage, 2018). In Detroit, the player must decide whether Mark, the leader of an android revolution, should destroy or transform a statue that comme- morates the creation of the androids and legitimize their oppression and subordinate position in relation to the humans. Choosing the former will lead to a violent revolution, the latter to a pacifist movement. The Budapest 1956 actions of the player/avatar provoke different outcomes in the game regarding the response of the media and “public opinion”, encouraging the player to take into account public perception when choosing the avatar’s actions. Thus, Detroit explicitly reflects on the existence of iconographic motifs and how social movements strategically use them

Interview MERCÈ OLIVA things”. trivial-looking “almost of The political relevance Theo vanLeeuwen with An interview to convey their message and influen- ce the media and public opinion.

Cloverfield(Matt Reeves, 2008) Mercè Oliva 2019 Vol. VII Vol. Núm 12

https://orcid.org/0000-0002-6812-737X DOI: 10.31009/cc.2019.v7.i12.05 89 Vol. VII Interview comparative cinema No. 12 MERCÈ OLIVA 2019 The political relevance of “almost trivial-looking things”. https://orcid.org/0000-0002-6812-737X An interview with Theo van Leeuwen Environment: SpatialDiscourseAnalysis. Cultura construcción delaimagen públicadelpolítico. Arbor. Ciencia, Pensamiento y Celebrificación delcandidato. Cultura delafama, marketing electoral y Grammar of Visual Design. York: Norton. First publishedin1905. Discourse DJONOV, Emilia& ZHAO, Sumin(eds.), and theMarketization of PublicDiscourse: ACriticalMultimodalPerspective. Stories.Bear SocialSemiotics, 209-230. Communication: Influencesand Features. Political Communication of Reality: A of Knowledge.Treatise intheSociology Press. Confession, Contest, Conversation. Noonday Press. manuscript. Barcelona: UPF. Routledge. London: SAGE. Globe Press. Personhood. 015.1062992 Studies Welfare Queens, Thrifty Housewives, and Do-It-All Mums. Feminist Media Bibliography Theo and JEWITT, Carey (eds.), Symbolic intheIllustration of a Text. BALLÓ,(2018). Jordi ALLEN, Kim; MENDICK, Heather; HARVEY, Laura &AHMAD, Aisha(2015). ROSE, Nikolas (1998). RAVELLI, Louise &MCMURTRIE, Robert J. (2015). OLIVA, Mercè; PÉREZ-LATORRE, Óliver &BESALÚ, Reinald (2015). KRESS, GuntherR. & VAN LEEUWEN, Theo (1996). FREUD, Sigmund (1960). J DYER, Richard (1979). DJONOV, Emilia& VAN LEEUWEN, Theo (2013). CALDAS-COULTHARD, Rosa Carmen & VAN LEEUWEN, Theo (2003). BLUMLER, Jay G. &KAVANAGH, Dennis(1999). BERGER, Peter L. andLUCKMANN, Thomas (1967). BELL, Philipand VAN LEEUWEN, Theo (1994). BECK, Ulrich (1993). BARTHES, Roland (1957). VAN LEEUWEN, Theo (2006). VAN LEEUWEN, Theo (2005). VAN LEEUWEN, Theo (2001). VAN LEEUWEN, Theo (1999). SCHAPIRO, Meyer (1973). , 191(775), a270. , 15(6), p. 907-925. Retrieved from: (p. 232-250). London: Routledge. Cambridge: Cambridge University Press. [access: February 3rd 2019] Iconografia delcinemailatelevisió. Risk Society. Towards aNew Modernity. Stars Inventing OurSelves. Psychology, Power and London: Routledge. Words and Pictures: OntheLiteral and the Mythologies (myth today). okes and Their Relation totheUnconscious. The Handbook of Visual Analysis . London: BFI. 13(1), p. 5-27. IntroducingSocialSemiotics. Towards asemioticsof typography. Semiotics and iconography. Speech, Music, Sound. Kensington: University of New SouthWales The Hague: Mouton. Critical MultimodalStudiesof Popular London: Routledge. https://doi.org/10.1080/14680777.2 The MediaInterview : The Third Age of Political Bullet Points, New Writing, Garden City: Doubleday. Multimodality intheBuilt DOI: 10.31009/cc.2019.v7.i12.05 Reading Images:Reading The The SocialConstruction Basingstoke: Red New York: The VANLEEUWEN, Unpublished London: (p. 92-118). London: SAGE. , 16(3), p. Teddy New

90 Vol. VII Interview comparative cinema No. 12 MERCÈ OLIVA 2019 The political relevance of “almost trivial-looking things”. https://orcid.org/0000-0002-6812-737X An interview with Theo van Leeuwen technology. SocialSemiotics Byrne reallydoeslove PowerPoint’: Artasresearch onsemioticsand semiotic p. 299-315. Analysis. Design JournalInformation VAN LEEUWEN, T. (2009). VAN LEEUWEN, Theo (2008). VAN LEEUWEN, Theo; DJONOV, Emilia&O’HALLORAN, Kay L. (2013). trivial-looking things’. An interview with Theo van Leeuwen. Compar Leeuwen. van Theo v7.i12.05 with Cinema interview An ative things’. trivial-looking How to quote Oxford: Oxford University Press. , Vol. VII, No. 12(2019), p. 69-90. DOI: 10.31009/cc.2019.

OLIVA, Mercè (2019). , 14(2), p. 139-155. , 23(3), p. 409-423. The world accordingto Playmobil. Semiotica Discourse and Practice: New Tools for Critical T he political relevance of ‘almost ‘almost of relevance political he DOI: 10.31009/cc.2019.v7.i12.05 - ‘David , 173, Vol. VII comparative cinema Pier Paolo No. 12 2019 Pasolini The Power Vacuum in Italy 91-97

“The distinction between fascism as adjective and fascism as noun dates back to the days of the magazine Il Politecnico; that is, to the period immediately after the war …” That is how Franco Fortini begins an article about fascism (in L’Europeo, 26-12-1974); an article with which, as they say, I agree entirely. However, I cannot endorse his tendentious prologue. In fact, the distinction between “fascisms” that is made by Il Politecnico is neither pertinent nor current. Such a distinction might have remained valid up until ten years ago: when the Christian- Democrat regime still effectively constituted the pure and simple continuation of the fascist regime. But ten years ago, “something” happened. “Something” that did not exist and was not foreseeable in the time of the Politecnico, nor even a year before it happened (or even while it was happening, as we shall see). Thus, we cannot make a true comparison “chronologically” between “fascisms” – between Fascist fascism and Christian- Democrat fascism – but instead between Fascist fascism and the radically, totally, unpredictably new fascism which was born out of that “something” that happened a decade ago. As I am a writer, and I write to create controversy, or at least to debate with other writers, allow me to offer a poetical-literary description of that phenomenon which took place in Italy about ten years ago. That would help to simplify and abbreviate my argument (and would probably help to make it more comprehensible). In the early 1960s, because of air pollution, and particularly water pollution in the countryside (our blue rivers and our limpid irrigation ditches), fireflies began to disappear. The phenomenon was swift and sudden. Just a few years later, fireflies had ceased to exist. They are now a heartrending memory of the past, and an elderly man who can remember them is unable to see himself reflected as he once was in the youth of today, and thus he can no longer utter those lovely yearning laments for past times. 92 Vol. VII Document comparative cinema No. 12 PIER PAOLO PASOLINI 2019 The Power Vacuum in Italy phases, which not only hadabsolutely nothing incommon, The Christian-Democrat regime went through two distinct disappearance of thefireflies”.“the And so, Iwillcallthat “something” that happened adecadeago all senseof reality into andturn atrocious, stupid, repressive were proclaimed asnational “values”, they could only lose of agricultural, pre-industrial Italy. Butfrom themomentthey also “real values”; they belonged to thecultures andbeliefs and morality. These “values” (asinthetimes of fascism) were Church, homeland, family, obedience, discipline, order, thrift were touted were thesameasonesunderfascism: the on atotally repressive regime. Inthisworld, the “values” that of the on thepart Vatican was only possible ifitwere based and therural masses, controlled by the Vatican. This control an absolute majoritybasedonthevotes of themiddle classes Fascist dictatorship was shamelessly formal. Itwas founded on the democracy withwhich theChristian Democrats opposed the with regardshas beenimportant to ahistorical understanding: contempt shown for theConstitution. I willfocus onapoint that the continuation of thelegal codes, thepoliceviolence andthe by since there isnopointinre-stating here what was covered fascism iscomplete andabsolute. Iwillnot speakaboutthis, The continuitybetween Fascist fascism andChristian-Democrat Before thedisappearance of thefireflies time. the fireflies untilthe present day. Let usa examine themone at of thefireflies, andthesecond goes of from thedisappearance called it) stretched from theendof thewar to thedisappearance The first phase of this regime (astheRadicals become historically unfathomable. implying senseof continuity, acertain butthey have also at that timethat allthat was not entirely true, and that formal being nurtured by intellectuals andopponents. Itwas hoped All thisisclear andunequivocal today, because vainhopeswere were thepragmatism andformalism of the Vatican. Christian-Democrat regime. The paradigms of that ignorance diverse level –duringboth fascism andtheinitialphaseof the were thehallmarks of theelites andthemasses–albeitona Democrat power. Provincialism, coarseness and ignorance state conformism: theconformism of fascist andChristian- Il Politecnico with reference to theabsenceof any purge, 1 have rightly 93 Vol. VII Document comparative cinema No. 12 PIER PAOLO PASOLINI 2019 The Power Vacuum in Italy words to thetimeof thetransition. Now, before moving onto thesecondphase, Imust devote afew democracy somehow meantsomething. has beenexperienced by other countries, buttheway ittook old peasantandpaleo-industrial order. The samephenomenon new typeof civilization, completely “other” withrespect to the condemned them), andthey were replaced by the “values” of a the marginalized clergy-fascism (even theMSI anything anymore, not even asfalse values. They survived within thrift, morality –noneof these valueswere nolonger worth counted. The Church, homeland, family, obedience, order, agricultural andpaleo-capitalist universe suddenly nolonger The nationalized andtherefore falsified “values” of theold After thedisappearance of thefireflies as “genocide” inhisManifesto. fully achieve, for thefirst timeinItaly, what Marxhaddescribed time termed “welfare” withthe “progress” that was aboutto future would bring, norcould anyone identifywhat was at that could have suspected thehistorical reality that theimmediate experience, andwhich was inessenceonly formalistic. Noone but thiswas information that was not yet backed upby years hadcalled theMarxist analytical method into question), They were fairly well informed by (which sociology duringthose and criticshadyet noticed that fireflies were“the disappearing”. mobilized by thePCI the country(Iamreferring to theworkers andpeasantmasses In fact, neitherthehuge countrythat was takingshapewithin of fascism, aspresented in During thisperiod, thedistinction between thedifferent forms During thedisappearance of thefireflies values ​​ only oneprecedent: pre-Hitlerian Germany. InGermany, too, the world andtheleveling-out caused by industry hasperhaps The Italiantrauma of thecontact between thepluralist “archaic” unification resulting from thebourgeois-industrial revolution. logic, onto theunification of themonarchy andthe subsequent countries itwas incorporated inaccordance withacertain real “unification” that our countryendured, whereas in other place inItaly was quite unique, because itrepresented thefirst of thevariousindividualcultures were destroyed by the 2 ) northeleading advancedintellectuals Il Politecnico , could still have worked. 3 essentially essentially 94 Vol. VII Document comparative cinema No. 12 PIER PAOLO PASOLINI 2019 The Power Vacuum in Italy who cameto form thesavage, perverse, unpredictable corpsof old (peasants, andnot yet artisans) (bourgeois), modern and consequent forming of thosehuge masseswhowere nolonger violent standardization resulting from industrialization, withthe And soitisridiculous that Fortini should return to the before. celebrated May Day asifthey hadheld thelast onetheyear in Portugal: after forty years of fascism, thePortuguese people fell, everything went back to how itwas before. Ialsosaw this masks that you could putonandtake off. WhenFascist fascism could not beinvolved inthem. The fascist “models” were just and reiterated itsimpositionsof conduct invain: consciousness dissociated from consciousness. “Totalitarian” power insisted during Fascist fascism, aperiodinwhich behavior was totally people to astate of irreversible degradation. This didnot happen power transform anddeform theconsciousnessof theItalian seen – “with allmysenses” –thecoercive acts of consumerist spheres. Itwas areal love, rooted in myway of being. Thus Ihave opposition to them), andoutside thepopulist andhumanitarian both outsidethespheres of power (furthermore, inadesperate love them. Sadly, Iloved theseItalianpeople: i.e, mylove was in order to understand thechanges inthepeople, you needto only needto go outonto thestreets to seethis. Butof course, who are degenerate, ridiculous, monstrous andcriminal. You in thecentral-southern regions) they have into turned apeople did to thishistorical trauma. Injust afew years (andespecially millennia. The Italianscould not have reacted worse thanthey history: oneof thoseages inhumanhistory that last for now knows) facing “new times”, butrather anew age inhuman industrialization fifty years ago. We are no longer (as everyone represents acrucial “mutation” even compared to Germany’s more violence, because theindustrialization of the1970s In Italy asimilarprocess isunderway, andwitheven the Nazitroops. All myreaders willnodoubt have noticed the change inthe different reason, which Iwillexplain below. even thoughIwould really like to. Iaminfact writingitfor avery In any case, Iamnotjust writingthisarticle to argue thispoint, all of history. power not only hasnoequivalent inourhistory, butprobably in and thefascism of thissecondphaseof Christian-Democrat early postwar period: the distinction between Fascist fascism distinction between two typesof fascism asthey were inthe 95 Vol. VII Document comparative cinema No. 12 PIER PAOLO PASOLINI 2019 The Power Vacuum in Italy sincerity. The blessed light of true good humorshinesfrom show their radiant smiles, which possessanunbelievable they have into turned funeral masks. Admittedly, they still Christian-Democrat leaders: inthespaceof just afew months do withthe Vatican, asacenter of backward, impoverished they continuedto wield anddispensenolonger knew what to rely onthe Vatican forever, withoutrealizing that thepower same intheirregime; that they would, for example, beable to They were undertheillusionthat everything would remain the evolution, itwas radically changing innature. dispensed was not merely undergoing a “natural” stage of they never even suspected that thepower they wielded and criminal, theirlack of awareness onthispointwas absolute: having noticed. Even thoughwe might considerthisto bealmost fireflies” tothat of “thedisappearance ofthe fireflies” without the Christian-Democrat have party gone from the “stage of the The explanation is, onceagain, simple: thepowerful brokers of this point?” How didwe –orrather, “how didthesemen of power –reach sense, but apower vacuum initself. in theend, it’s not avacuumof politicalpower inany traditional legislative orexecutive power, noravacuumof leadership, no– today’s Italy. Butthis isprecisely thepoint: it’s not avacuumof The explanation issimple: there isadramatic power vacuumin and ashes: there would benothing butavacuum. removed thesemasks, we would findnot even apile of bones Yet infact they are nothing butmasks. Iamsure that ifwe promises. which we canmake outtheflatus vocis of theusual stereotyped on imperturbablywiththeirincomprehensible rigmarole, on as much as happiness itself. Furthermore, ourleaders carry cunning, which issomething that apparently pleases voters their eyes, alternating withthecomplicitglintof ingenuity and the power of consumerismwhich imposedradical changes period) to thrift, to morality. Now [thefamily] was subject to the guarantee of continuityithadenjoyed since thefascist same must besaidof thefamily, constrained (andnow without nature, which resembled technocratic policeforces. Andthe already maneuvering to create new armies, transnational in without noticing that thepower they continuedto wield was rely onanational (astheirfascist army predecessors did) peasant life. They were undertheillusionthat they could still 96 Vol. VII Document comparative cinema No. 12 PIER PAOLO PASOLINI 2019 The Power Vacuum in Italy totalitarian interms of itsviolently totalizing nature). by thepermissiveness of thenew power, which was worse than everything else, withoutlimit(or at least upto thelimitallowed upon it, to thepointof makingitaccept divorce and, therefore, ecological, urbanplanningandanthropological disaster. Infact, us soatrociously for years, thirty leading Italy to aneconomic, a question of “replacing” thegroup of menwhohave governed “macabre” fascination witha the entire nation. Onesignof thishappening, for example, isthe through acrisisandreorganization that cannot fail to involve fact, the “vacuum” of which Ispeakisalready beingfilled in, predicated intheabstract and Anyhow, a “vacuum” cannot exist inhistory; itcanonly be double-breasted suits. instruments that make nothing elsereal buttheirmournful without them, andallthey have intheirhandsare thoseuseless smiles, are covering over thevacuum. Real power carries on Democrat brokers, withalltheirautomaton maneuverings and I say “formally” because, Irepeat, thepowerful Christian- successful) to hangonto power at any price. the present day, inanattempt (which sofar hasbeenformally the horrible events that have beenorchestrated from 1969to enough, seemsto betheonewhohasbeenleast involved inall Latin). This was particularlytrue of Aldo Moro, amanwho, oddly new language (which was incidentally asincomprehensible as changed theway they expressed themselves, adopting atotally of thefireflies”) theChristian-Democrat bigwigssuddenly In thetransitional stage (that is, “during thedisappearance Gramsci), only inlanguage could thesymptoms bedetected. to thembutto anentire form of civilization. Asalways (see “something else”, something that was unfathomable not only managing allthisupheaval. They never realized that itwas haveparty experienced, inthebelief that itwas they whowere That is what themenof power inthe Christian-Democrat the something that may have begun to fillupthe “vacuum” for thepast decadewithoutrecognizing thereality: thisis The real power which thosesame “woodenheads” have served constitution, Nazis). that inthiscasethe “troops” would already be, interms of their fascist power apparatuses, would bepointless (anditisclear more so), carried outby theartificial reinforcement of theold woodenheads (noless mournfully carnivalesque, perhaps even the spuriousreplacement of these “woodenheads” withother coup d’état ad absurdum . Asifitwere simply . Chancesare, in (also thwarting the possible participation in the government of that great communist nation that was born out of Italy’s gangrene: because it’s not about “governing”). As yet we only have abstract, fundamentally apocalyptic images of such a “real power”: we cannot imagine what “forms” it might take if it comparative cinema comparative were to immediately replace those who have viewed it as a mere “modernizing” of methods. In any case, speaking for myself (if that should be of any interest to the reader), let me simply say that no matter how multinational it might be, I would give the whole of Montedison for a single firefly.

Translated by Ruth Pérez-Chaves, Ph.D.

Published in: PASOLINI, Pier Paolo (1975). Il vuoto del potere in Italia. Corriere della Sera, 1st February 1975. https://www.corriere.it/speciali/pasolini/potere.html [access: April 1st 2019] The first version of this translation was published in the blog Città Pasolini in 2016: http://cittapasolini.blogspot. com/2016/09/the-vacuum-of-power-il-vuoto-del-potere.html [access: April 1st 2019].

97 1/ Most probably Pasolini is referring to the characterization of “regime” dis- cussed by Ernesto Rossi and Mario Pannunzio, both members of the Partito Radicale (Radical Party), left-wing political party (1955-1989). (Translator’s Note).

2/ Partito Comunista Italiano (Italian Communist Party). (Translator’s Note)

3/ Movimento Sociale Italiano (Italian Social Movement), neo-fascist political party (1946-1995). Renamed Movimento Sociale Italiano – Destra Nazionale (Italian Social Movement – National Right) in 1972. (Translator’s Note) Document PASOLINI PIER PAOLO in Italy Vacuum The Power 2019 No. 12 No. Vol. VII Vol. Vol. VII comparative cinema Harun Farocki No. 12 2019 Harun Farocki: On

Display: Peter Weiss 98-105 A Production Dossier

June 4 [1979]

Dear Mr. Burgmann, Written in a hurry, a synopsis + an excerpt. I’d prefer if we talk on the phone. Best, H.F.1

Harun Farocki: Peter Weiss On Display a book he is still working on—on the third part the path of a first-person narrator from berlin in the nazi era emigration, spanish civil war, sweden, second world war and planned until ’45. document-rich: the pergamon altar, the comintern line, the social democracy-communism controversy, spain, the hitler-stalin pact, a play by brecht, the life of ossietzky’s daughter, the history of swedish social democracy, gaudí, delacroix and so forth (the history of montmartre) many inherently political biographies. one’s own life went differently. but close acquaintance, a man like hodann, who he extensively interviewed and whose journal exists. actually knew brecht. the writing always conveys first-hand experiences onto other lives and time periods. as a working principle: each factual word (date) should be correct. how far this goes: sometimes a demolished house is sought, a photo procured, something looked up. sometimes very secondary sources: where münzenberg was born, somber region, enumeration of names of rulers. sometimes very close: a gesture one made that finds a use in the book. comparative cinema comparative comparative cinema comparative

June 17 and 18, 1979

Shooting in Stockholm The archive of the Harun Farocki Institut accommodates about sixty minutes 9999 of unused 16 mm footage (b/w image and sound) that was shot for On Display: Peter Weiss. In October 2016, this material was digitized. Document HARUN FAROCKI Weiss Peter On Display: Farocki: Harun Dossier A Production 2019 Vol. VII Vol. Núm 12 100 Vol. VII Document comparative cinema No. 12 HARUN FAROCKI 2019 Harun Farocki: On Display: Peter Weiss A Production Dossier another version, outof onechapter another becomes no set plan, inwritingthere always arises interviews, sources, literary aswell, visitinglocations. working method: that isnot yet mature. to discover precursors of theproletariat symbolic hasto inart dowithapoliticsof individuals in spainitisconsidered that theemblematic and the book. just like inthetitle, thesubject of aesthetics isthematized in digs something up, placesasmallflag. place. that oneotherwise passesby thoughtlessly into animportant therefore works like anarcheologist. aplace turns he wants to rescue adisappearing politicalculture and peter weiss’ worldview isopposed to thefamiliar. what’s with themagicof thelocations? plot. not reflection, to hisconsciousness. the world becomes consciousness, however, thiscommentary alsostands inrelation to thehero, a new chapter andthere isanessay aboutsomething. comes walking withsomeoneandthey discusssomething andthen directly, there are many “levels of commentary.” so hegoes the book happens in the first-person narrator doesnot experience everything that in order to have anideaof thewhole already while working. letters onapage. healsousesvery large sheets of paper that the bookhave aneven typeface withmany which one cannot describeasabstract. for itisimportant him a lot of reworking, every page 4, 5 times. following ideasof form, necessary. the simplicityof themetaphors isalsolike film. asingle the scenewithtwo walking continues. into atent, thensomething else, hecomesoutagain, and goes chapterof theparticular isalsoimportant. two are walking, one of originallocations andlocation sound, theediting how itistreated like film: not only the importance is rooted innecessity, demanded by struggle. uprisings ingreece; thebeautiful canonly bebeautiful ifit

101 Vol. VII Document comparative cinema No. 12 HARUN FAROCKI 2019 Harun Farocki: On Display: Peter Weiss A Production Dossier experiences brought aboutby atripto vietnam. the intellectual shapeof thebookisdetermined by events and catalyst for thebookwas thevisitto thealtar. action or posture characterizes anentire demeanor. street infront of me. courtyard, the entrance andthesize of thebedroom andthe that street was found. butfor to meitwas seethe important may for not beimportant areader where abedroom inthisor bedroom andcould add itto theproofs. that was significant. it andthebedroom,and could seetheapartment thesize of the go outof thehospitalto thishousethat was still beingrebuilt. in thosedays andwhofound outwhere hisroom was. icould still acquaintance whowas closely affiliated with rosner and wehner already hadtheproofs, isuddenly received acallfrom aswedish already delivered thetext. asiwas lying inthehospitaland and thebookwas already finishedandi was sosorry, ihad resided. he was, that noonecould actually tell meexactly where hehad dealt directly withrosner hadsuppressed thissomuch, where not asingle, tiny detail would becomepublic. even people who as long asthey were still alive, inthespiritof illegality. sothat communists at thetime, andharbored them, continuedto live, communists, whowere here insweden, whohelpedgerman him. andiwas unable to findoutwhere thislittle room was. the he lived here illegally andthepolicehunted him, anddidn’t find hidden with swedish comrades. sodidn’t take onestep out. so of cubby-holea sort clandestinely insweden, for four years, for example, rosner whomadethecomintern newsletter in enriches me—whenever iamat anauthentic place. basis for thefantasy—so that basically nothing isinvented. it that what isdepicted iscompletely realistic. that ihave a because itissomething that iscrucial to meinevery scene— there asifithadbeenuninhabited sincethecivilwar. thered to climbin, everything was still thesame. thehousestill stood house andthenattempted to findthe key to enter thehouse, only after we now stood inspainbeyond albacete infront of this who suddenly remember, itislike ajourney of discovery. and depending oncoincidences, andacquaintanceswithpeople trip,an enormous which would achapter beworth initself, and just after we found outwhere thiswas, which initself was original first-aid station, ihad to invent thisinanearlierdraft. in spaintoo, thiscueva lapotita housewhere hodannhadhis 2

comparative cinema comparative comparative cinema comparative

June 17 and 18, 1979

Shooting in Stockholm

102102 Document HARUN FAROCKI Weiss Peter On Display: Farocki: Harun Dossier A Production 2019 Vol. VII Vol. Núm 12 103 Vol. VII Document comparative cinema No. 12 HARUN FAROCKI 2019 Harun Farocki: On Display: Peter Weiss A Production Dossier the red flags were still hangingthere? piano. there andtheplayer piano, andtherolls that oneputinthe flags were still hangingfrom the roof andtheold radio still stood people stand next to each other, rarely caniimagineachamber writing astage play, itisclear to me from thebeginninghow the also inmypersonal life spacesalways affect me. wheni’m sometimes filmicideas. there, intheparkwhere there isscaffolding. these are pictorial, so itwas possible that while speakinghewould suddenly go in constructions andhemust have inthethirties always passedit, followed thispath. thehousehe lived inwas oneof thenew d’expositions, next to theportedeversailles, andhealways where helived, andheactually lived directly next to theparc i was able to imaginethis, after i hadbeeninparisandsaw who isreally always traveling, hiking, onthemove, active. connected to hisplan. thisisnocouch potato. thisissomeone must always have bigviews, perspectives before himthat are connected to one’s own imagination. i imaginedthismanwho enormously expansive personality, theseare thingsthat are always hiking, andwhat hodanndescribes inhisjournal: this some way, inhisbooks he always talks abouthiking. hewas i never saw münzenberg inperson, butitisconnected in – that is infact anidea that isconnected to thischaracter. onto scaffolding while speaking? – where didyou get theideafor münzenberg always climbing poplars andthesurrounding foggy atmosphere. river, júcar, which isburiedvery deep, thesharpcoast the in thisway possibilities ariseof describingthecourse of the old, butonecould completely orientoneself. hadn’t visited itsincethecivilwar. itwas completely decayed, landowners whohave six, eight orten such properties andhe yes, ithadbeenclosed, itbelonged to oneof thesebig cut away more. because icomeuponhundreds of thousandsandmust always endless ramifications that of course often make writingdifficult, there isalways anentire world that isbeingeffected. with there anddealingwithaproblem, butitisunmistakable that there isnever anentirely self-absorbed person whoissitting there isalways the image that there isaworld outside. that play where people sitintrash cansandonly talkto each other.

104 Vol. VII Document comparative cinema No. 12 HARUN FAROCKI 2019 Harun Farocki: On Display: Peter Weiss A Production Dossier Published in: PANTENBURG, Volker; DESEYNES, Elsa; et al. (2016). Unternehmensarchiv u. MagazineLeitung Dokumentation undArchive, D+U, © Westdeutscher Rundfunk Köln Weiss. Berlin: Harun Farocki Institut andMotto Books. meeting withWeiss. new, typedpage andprobably relates to theminutes taken duringthepreparatory 2/ The “excerpt” Farocki note mentionsintheshort heattaches beginshere ona most likely beenadded by theWDReditors. begin withoutaheading, thewords “Harun Farocki: Peter Weiss OnDisplay” have 1/ This isahandwritten note attached to asix-page typescript. The typedpages Harun Farocki: OnDisplay: Peter comparative cinema comparative comparative cinema comparative

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Shooting in Stockholm Document HARUN FAROCKI Weiss Peter On Display: Farocki: Harun Dossier A Production 2019 Vol. VII Vol. Núm 12 Vol. VII comparative cinema Hito Steyerl in No. 12 2019 conversation with João Fernandes 106-123 Art, a Test Site

Venice, May 2015. Hito Steyerl has just premiered her latest piece, Factory of the Sun, in the German pavilion at the Biennale. We meet at the San Basilio vaporetto stop, opposite the Molino Stucky on the Giudecca. Many times between two places, between the working Venice of the nineteenth century and the channel providing passage to the cruise ships that threaten the history and memory of the ancient city, its campi and narrow winding streets. It’s the perfect condensation of the conflict between the current economy of value accumulation and the value accumulated by a whole memory; the history of the struggles for identity and the dignity of the human condition were also the subject of representation in the past, as the Venetian painters show us. From there we go to the house where Hito and her team have been living while they installed the new piece. We start a conversation to contextualize the presentation of her work in the exhibition we are preparing at the Reina Sofía Museum. It’s a brief and incisive exchange, like her texts and images, which engage with rare critical lucidity images of our time, responding to their rapidity by stopping them, making a brief pause to think in the flow of the film, aware that “light travels so fast that the image is produced before the event”. In the work of Hito Steyerl (Munich, 1966), the construction of the text and the editing of the image expand the condition of the film essay, reflecting on and intervening in the systems of circulation of information and of the presentation and representation of the work of art. Her writings, lectures, films and audio-visual installations associate philosophical and political reflection with a critical activism inserted in the sphere of the production and circulation of the image and the word. Steyerl’s work responds to what Noam Chomsky has called “Orwell’s problem”: the paradox that even though we have so much evidence and data at our disposal, our knowledge of the rules and conventions that govern reality is so limited.1 The artist reveals the dialectic of the visible and the invisible that 107 Vol. VII Document comparative cinema No. 12 HITO STEYERL IN CONVERSATION WITH JOÃO FERNANDES 2019 Art, a Test Site J F H S J F to give usback, intheform of areflection, acriticalcomment (such asaction movies, music, songvideosorcomputer games) industries. Inherwork sheusesreferences to popularculture politically structures theproliferation of images inthecultural and soon. changing not just itsform butitsmedium. Video, digitalmedia, for thiskindof work hadbegun to move into other channels, that, whenIstarted myprofessional life, the production context much trained inthiskindof filmhistory. Theonly problem was Vertov’s work canbedescribedasfilmessay. And yes, I was very form,As anart it’s beenaround sinceat least the1930s. an autonomous approach. developed thevisualessay asboth anautonomous form art and artwork—for example, in Robert Smithsonmight have beenthefirst to present lecture as the digitalimage. ways inwhich thedocumentarycanbeconceived intheera of of texts andperformative readings that redefine andupdate the as away of thinking. Your film work isalsoaccompanied by aset that present uswithtopics andreflections, usingthemontage Hito, your works are not just videos. Many of themare videos knows thatare theplaces of art also “a battlefield”. show in numerous museums, centres art andgalleries. Butshe encounter inHito Steyerl’s works, many of themcurrently on surveillance andmilitarization are amongtheother issueswe industries of culture amongthem), (art precarious work, control, post-democracy, theoccupation of timeby thetechnologies and that mark thepresent. Contemporary andthetransition art to denounced withintherealities of war andfinancialspeculation The strategies of valueaccumulation are investigated and on migration, feminism, multiculturalism andglobalization. Were you always interested inconnecting thisheavy touch from something we have today invideogames, videoclips, etcetera. You’ve used thevisualpretext of theimage insidetheimage, popular culture, whether gangster movies orthevideogames. TV, videogames)that you could use. Your work connects with new ways of working themoving image, hademerged (e.g., was not theonly reference. Many new systems of production, You started to develop your work duringamomentwhencinema Hotel Palenque —but you have further Dziga Dziga 108 Vol. VII Document comparative cinema No. 12 HITO STEYERL IN CONVERSATION WITH JOÃO FERNANDES 2019 Art, a Test Site H S H S J F H S J F Yes, because popularculture istheculture of thepeople. today? constructivist cinemawithwhat’s happening inpopularculture do you seethefetishization of thepoorimage inthedominant Quentin Tarantino, for example, fetishizes thepoorimage. How poor image andhasuseditinvery rich (andself-enriching) ways. consider to be the “poor image.” The image businesstook the You’ve developed aninteresting presentation of what you those that commodityculture usually pursues. seduction of thistypeof culture canbeusedfor endsother than This energyifreleased canbevery strong. The affect andthe are condensedincommodityform andto usethemdifferently. labor—and now desire. Itryto engage withthedesires that commodity hashistorically beenacontraction of energy, time, Absolutely. Popular culture hasalways beenacommodity. The and acommodityof theeconomy. Popular culture isboth asystem of production inaneconomy reality today. Intervening inthepopular culture image sphere isintervening in In theavant-gardes, people talked aboutintervening inreality. a representation of reality; itreally isamaterial of reality. part the material theeveryday ismadeof; it’s of reality. apart Not culture, working withthiskindof material isimportant. This is affect. Rather thanproposing someform of classical, elite mining, for extracting information, extracting energy, extracting use images, yes. Butnowadays images usepeople for data every day. But, inturn, they alsousepeople every day. People Images from popularculture are beingusedandprocessed the shakycamera that usedto pointto adocumentarymode image hasbecomeatrope of authenticity: it’s theequivalent of making a4Kimage. Resolution hasrisenalot. Second, thepoor exists anymore because even your cellphoneis now capable of First, thepoorimage asI described itmany years ago hardly producers of poorimages. but, thanks to allthe videodevices inourlives, we’re now all culture today? continueto Artists practice thepoorimage, 109 Vol. VII Document comparative cinema No. 12 HITO STEYERL IN CONVERSATION WITH JOÃO FERNANDES 2019 Art, a Test Site H S J F J F H S dominant consumerculture. That’s inevitable andit’s not about forms of communication have forever beenappropriated by the isreal.”“this Butthat hasbeengoing onforever. Slightly glitchy even inHollywood films. Flashthepoorimage inorder to say, are much more mixed. You seethisinsomeof mynewer works. I by information aboutupcomingfeeds, andsoon. Image andtext digital culture every image isframed by writing—by advertising, sign oratitle, little writingintheimage. Maybe you seeastreet signorashop On theother hand, Ialsorealized something. Incinemayou find separating them? They’re both basically thesamekindof matter. and zeroes. You have atext: onesandzeroes. Sowhy bother the same. The baseisbits, it’s digital. You have animage: ones unsustainable position, because thematerial baseof both is rupture hadseparated both forms. Now Irealize that’s an have nothing to dowitheach other, of modernist asifsomesort separate. The writingishere, andthevideoisthere, andthey three, four years ago, changed alot over thepast years, however. Ifyou hadasked me Yes, somehow Ido. The answer Igive to thisquestion has video to text. simultaneously, you develop ideasfrom text to videoandfrom intersect. Andbecause you work onyour videosandyour writing reflect some of thevideos of work-involved fields. They of others oryour own lectures, andthelectures themselves Some of your videosconnect withtexts, whether thetexts What is therelationship between your writingandyour videos? look.” That changes every sixmonths. The pointiscertainlynot to say, ishow animage should “this the ways of usage, theforms of production associated withit. Rather, it’s abouttryingto identifythecircuits of distribution, identifying withonemediumorgenre oroneform orimage. video onacomputer, to seeonly thevideoisrare. You always several screens open at the sametime, soeven whenyou watch Absolutely. Ofcourse, ona computer screen you always have The Internet hadsomething to dowiththat. So even insidethevideo, writingincreases alot. writingonthescreen.start Iuse it almost asacomputer screen. but writingisnot usuallyof theimage. part Butin I would have told you they’re completely 110 Vol. VII Document comparative cinema No. 12 HITO STEYERL IN CONVERSATION WITH JOÃO FERNANDES 2019 Art, a Test Site H S J F H S J F J F H S J F H S That suggests acoming change inthe condition of writing. visual production tend to collapseinto oneanother. have avideoplussomething else. Inthat sense, writingand Colonialist. world isbecoming... theorization not only of politicsbutalsoof everyday life. The art mimic thebehaviour of images. In your texts you speakof the life, alters theforms of life of theworld andobliges themto of life by art. Nowadays there are dominates occasionswhen art studying anddenouncingtheaestheticization andoccupation situation. Itisnolonger aquestion of life invadingbutof art between thetwo areas. You seemto bedenouncinganew other currents advocated withinmodernity rapprochement and life inresponse to thecontamination of thelatter, while The paradigm of championed modernity theseparation of art develop ortest ideas. Atest site. be artworksbutrather aspaceof experimentation, aspaceto That just happened somehow. Idon’t actually considertheseto plan. Exactly. Inmywork Idon’t control thesethings. Idon’t make a window you always findanother window. Just as behindeach text you always findmore text, behindeach In filmmakingalso. ideas, exotic pictures. Orconversely, isusedto art decorate resources; creates global systems for extracting talent, new occupies spaces, gentrifies spaces; transforms cities, minds, small test caseyou system seehow theart colonizes spaces, industries are of course much more important, butinthis Let’s saysystem theart isasmallmodel, atest case. Other life—is dangerous. Yes, iscolonizing theworld. art This reversal—art contaminating I never plannedto givinglectures start orwriting lectures. 111 Vol. VII Document comparative cinema No. 12 HITO STEYERL IN CONVERSATION WITH JOÃO FERNANDES 2019 Art, a Test Site H S J F J F of global capitalism. is not of theeveryday, butitiscreating anewly integrated form dictatorships, oligarchies, andsoon. This system of colonization tourist attraction, you canintheprocess create somestrange investment. Whenthemain goal is to develop thecityasa straightforward. Buttheseare systems of colonization, friction, become asymbol of enlightenment! That’s why Isay it’s not women’s reproduction, abouthealthissues. DamienHirst has Enlightenment values, of beingable to show abody, talkabout not socially acceptable. They’ve becomethisstrange symbol of Now onehears talkof just meltingthemdown because they’re whatever itiswithcloth; itlooks wonderful!” great sculptures? I have to make note of this. Just cover up them. Whenever Idrove past them, Iwould say, “What are these the sculptures have beencovered withcloth. That ishow Isaw naked bodyfor religious reasons, even thebodyof afetus. So emerged, because anumberof locals thinkyou cannot show a So, was whenthe artwork unveiled, aconservative backlash which makes itkindof obvious to thinkaboutthehumanbody. do look like aliens, plusthey are located infront of ahospital fetuses look awful, like aliens, butthey are fetuses, andfetuses a dozen bronze sculptures of fetuses—by DamienHirst. The milliononahuge publiccommission—more than spent $20 involves theQatar MuseumsAuthority inDoha, which recently not always linearorsimple. Ananecdote that illustrates this corruption cancreate really interesting contradictions too; it’s front, ishot onitsheels. butart The situation of structural iscertainly catchingArt up. Architecture isstill running in converged. exercise of power, buttoday andarchitecture art seemto have because architecture was always aconsequenceof the was alwaysArt more criticalof power thanarchitecture, the ideaof thestate, yet what hasactually succeededin Curious that we’re taught that thegoal of theLeft isto destroy government. abstract monumentalgestures andanauthoritarian monarchic because there isnofriction between hishighmodernist be melted downinto andturned Richard Serra sculptures, twists. MyfriendsandIjoked that thefetus sculptures could 112 Vol. VII Document comparative cinema No. 12 HITO STEYERL IN CONVERSATION WITH JOÃO FERNANDES 2019 Art, a Test Site H S J F J F H S become capitalist-backed, infected by theideaof ever-growing originate new products, new economies. today Andart has Capitalism usesthecontamination betweenandlife to art destroying thestate, theideaof thestate, iscapitalism. whether economicvalueorpoliticalvalue. Today many people has becomeanenginefor speedinguptheproduction of value, politicalissuetodayAnother important istime. The useof time There are experiments important going oninthisrespect. state form anditsinherentto tendencies. the19th-century question,important which needsto besolved withoutrecourse ourselves withthedestructive forces of capital? That’s areally the nation-state, what isthealternative if we refuse to align and hardly postfascist nation state. Butifwe don’t return to do not thinkso, having andraised been born inapostgenocidal have to live together more andmore. More precisely, Iabsolutely in which people from allkindsof regions andbackgrounds will century, butI’m not sure whether it’s aviable modelfor afuture capital. The ideaof thenation-state goes back to thenineteenth in part, to protect themselves from thedestructive forces of been a return to thenation-state. People want to reclaim it, One response to thedestruction of thestate by capitalismhas the dissemination of information. immaterial of paradigm becameasort artwork ortemplate for (andvice-versa)conceptual art inthe1960s. Alberro writes abouthow public-relations strategies informed shipping costs; anditwas very close to advertising. Alex wasConceptual literally art easy to handle: itrequired no information economy. systems of valuefrom them—becameamodelfor theneoliberal object-hood, against theideaof joiningobjects anddeveloping onemomentwherefoughtconceptual art—the art against accumulation that isthecapitalist system. You argue that even For theideaof cooperation, theideaof accumulation of Exactly. Unemployment of new becomes asort condition. You work more butyou less, earn right? present intheirlives; they work more because they feel freer. their lifestyles might seembohemian, butinfact work isalways who have jobsdon’t have aregular timetable. At first sight, 2 The so-called The so-called Abstract (Hito Steyerl, 2012) comparative cinema comparative

113 Document FERNANDES JOÃO WITH IN CONVERSATION STEYERL HITO Site Test a Art, 2019 Vol. VII Vol. Núm 12 114 Vol. VII Document comparative cinema No. 12 HITO STEYERL IN CONVERSATION WITH JOÃO FERNANDES 2019 Art, a Test Site H S J F example, transmit anabstract ideaof time. Centuriescanbe film industry, withall of theiroutput of historical movies, for being given more time. Similarly, thevideoindustry and the time, people are beingrobbed of theirtimewhile supposedly distance to reality. People don’t usually talkaboutthekind The image creates thedistance from reality. The image creates everything looks onthe news.TV our coasts. Even thenthey’re still far away, because that’s how in theWestern world only whenthey diewhile approaching visible. Today they are invisible. That is, they’re far away, seen miserable, thewretched were onceeverywhere andhighly You talkabout wretched”“the inyour recent work. The so quickly that theimage isproduced before thethinghappens. been accelerated somuch that timehasreversed. Light travels the cause, which meansthat thespeed of light has probably In away, thechain of causality hasreversed. The effect precedes image. Instead, we have animage, andthensomething happens. The order isnolonger: something happens andthenwe have an around,has turned asHarun Farocki talks aboutalot. notice. Why doIsay this? The relation of representation to reality been accelerated by someonesomewhere already. We just didn’t microsecond. Myideaisthat thespeedof light hasprobably Time today isaresource that isminedto themillionthof a in order to squeeze another picosecondoutof productivity. video—Deutsche Banktriesto accelerate thespeedof light Is thispossible? Inmywork for Venice—which isafictional What is thenation of time? Isthere any politicalbodyof time? I thinkthisquestion needsto beconnected to theprevious one. and theusesof timeinthesociety outsideyour work? your relationship withtimeinyour work? How doyou seetime represented andsynthesized intwo hours of amovie. What is rest of theworld’s cultures. what happens withWestern culture andits relationship to the have failed to assimilate ourculture. This isalsoametaphor for “clean” war against thebarbarians, theuncivilized, thosewho to take onecase—because war today ispresented to usasa photographs of theAmericanCivilWar—by Mathew B. Brady, identify withthehorrors of war. We are along way from the first its diversity. The world isreduced to avideogame. We no longer corresponds to avery limited experience of today’s world and of information they receive, butalot of that information 115

Vol. VII Document comparative cinema No. 12 HITO STEYERL IN CONVERSATION WITH JOÃO FERNANDES 2019 Art, a Test Site J F H S H S J F relationship you were able to discover connections between one of the far-off, invisible places, andbecause of your personal begins from apersonal story. You hadafriendwhowas killed in Your work seeks to reveal theseother sidesof theworld and is mostly technologically mediated. This was thetopic of my I meanform inthesenseof socialform, socialrelation, which which Ialsomean, how isitrelayed, passedon?) communication between AandB. How istheimage related? (By image of therelation, of the misunderstanding, of theway of saying, isreality.”“this Ithinkthedocumentaryimage isthe placing it somewhere elsewhere it’s decontextualized, andthen I’ve always haddifficultytakinganimage from somewhere, related to content. these positives? Because, for me, documentaryisvery much about forming that documentarylanguage, are you talkingabout to have thesepositives to translate thereality? When you talk determined by content butby form, inthesensethat you have Is that related to your ideathat documentarylanguage isnot for example. stand-ins oravatars. Imight useamentalimage from a show,TV Sometimes you have to useproxies, like translation devices, how do we learnto seethem, ormaybe rather sensethem? believe that they are always outsideandalways absent. So them. Butthemiserables are everywhere. We are just led to in our daily lives. We have to actively unlearnhow not to see The wretched are everywhere. Butwe’re taught not to seethem politically abouttheworld? in ourdaily politics, theimages we daily consume, andthinking know. What istherelationship between thevisible andinvisible this distant placeandthedaily life of theWestern citiesyou Documentary andfiction have beenintersecting sincethe something Icanfetishize ornot. translation andmediation. Otherwiseitjust remains exotic, different place? Idon’t thinkIamable to understand itwithout created by the Kurdish PKKmovement, what doesitmeanin a I take aposter of inaheroic aso-called martyr pose, aposter does itchange ontheway, how doesitchange its meaning? If early filmNovember. How doesanimage travel from Ato B, how 116

Vol. VII Document comparative cinema No. 12 HITO STEYERL IN CONVERSATION WITH JOÃO FERNANDES 2019 Art, a Test Site H S H S J F H S J F J F be revealed andothers not. How doyou see, inthisprofusion revealed system inaparticular that allows some images to because thedocumentariesare usedasdocumentsandare beginning, buttoday fictionoflike issort ahidden fiction, too, but they’re hidden. never see. They exist, they’re somewhere, they’re very valuable, storagefreeport art spaces. These are works we’ll probably In visible, nothing isvisible. Exactly. There’s thisdialectical relationship, wheneverything’s Making itvisible istheperfect foil. about missingpiecesof information. terrifying. It’s really, really terrifying. Much more thanworrying a complete mapof everything, where everything isvisible? It’s paranoia iscreated.) Butwhat happens ifyou suddenly have remain, something would always bemissing. (That’s how never have acomplete map of everything. Ahole would always of activities, information, inreal time. Iusedto thinkyou could Organisations like theNSA map. They create acomplete map the other sidedoes. Suddenly it’s not only possible; it’s possible alsoto know what always besecret, that we’d never have any way of knowing them. to thinkthatof vast knowledge parts relating to power would its revelations openonto acompletely different angle. Iused I was talking to Laura Poitras aboutthisrecently. Herwork and today? a relationship between thevisible andtheinvisible inimages of images, themore hidden andsecret images? Ordoyou see enemy of bourgeois life because hewas excluded from that In thenineteenth proclaimed centurytheartist himself the it, we don’t want to destroy it, solet’s just hideit.” see allthisart. This ishideousauction art. We don’t want to burn member inMoscow whosaid, “This isgreat! We don’t have to The best reaction I’ve heard aboutthiswas from anaudience Duty-Free you talkaboutthe “withdrawal” of artworksto

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Vol. VII Document comparative cinema No. 12 HITO STEYERL IN CONVERSATION WITH JOÃO FERNANDES 2019 Art, a Test Site H S J F H S showed andcollected works of art, butalsoproduced artwork. It the museums, theminto turning institutions that not only wereartists ontheoutside. Over time, transformed theartists life. At that timethebourgeoisie created themuseums, andthe reality of themuseum, butitsteers clear of itshidden systems, Frederick Wiseman, systems, such asthepoliceormilitary. The recent film by security staff are recruited from other external security including thoseof war. In museums intersects withother aspects of theeconomy, Some of your works pointoutto ushow theeconomyof the struggle to make itthespacewe want itto be. innocence andtryingto dissociate ourselves from it, we should Instead of allowing themuseumto remain inapositionof false happen, sowe’ve got to tryto own itinstead of refusing it. lines of thethingformerly called struggle. This iswhere things site of classstruggle. This isoneof thetrenches, thefront themselves from themuseumsystem whenit isnow aprime Later Istarted askingwhy people are always tryingto dissociate entry into themuseumworld. a projector. What are they complainingabout?” That was myfirst they talkingabout? It’s great. You canshutoff thelights. There’s institutional critique,early 90s Ikept saying to myself, “What are point itwas arefuge, almost anasylum. Duringtheperiodof cinema stopped working asaviable realm of production. At that the museumdidnot emerge for measanyof site sort untilthe I comeat thisquestion from avery different angle, because place of conventions andcontradictions? destruction andconstruction. For you, what isthemuseumasa have becomeasystem of conventions for everything, both for Today anew way of thinkingdominates, inwhich themuseums was essential that themuseumsshould openupto theartists. Museums now seemto inhabittwo distinct zones: their presentation andrepresentation inmuseums. of art economy today affects thesystem of collecting andof the economy, independentof thepublicinterest; that private patrons that fund it. The economyof themuseumisaprivate is increasingly dependentonthecomplex relationships of the of note amongthesebeingtheeconomyof themuseum, which National Gallery, Guards you show how themuseums’ alsosets outto expose the 118

Vol. VII Document comparative cinema No. 12 HITO STEYERL IN CONVERSATION WITH JOÃO FERNANDES 2019 Art, a Test Site J F J F H S J F H S shows, askcollectors ifthey cansupply not just themoney but as more andmore publicmuseums, lacking funding to puton storageart for collectors. freeportsnow bleed Art into museums traditional oneandasecondinwhich they function asaform of less, butsomeof thefestivals—the Rotterdam FilmFestival, for world isfragmented, though. The movie industry couldn’t care talking about? Are you sure we needto look at this?” The film Yes, butit’s mediated. They think, “What are people theart artwork? Does theworld of cinemaexpress any curiosityaboutyour are precarious, from thedirectors to theguards. precarious. Today, thejobsof everybody working inthemuseum on precarity. Before, theartist’s presence in themuseumwas system of work insidethemuseumisalsoincreasingly based extraordinary; itreflects theprecarious times we live in. The But they thinkthey’re givingsomething to thepeople. It’s me of on ahuge bankof electronic displays inthemuseum; itreminds text—from people—displaying these “overheard” conversations is contributing. online forums andpublicchat rooms. The ideaisthat thepublic snippets of text taken from commentsposted by people to an extraordinary sculpture called a new kind of communicational capitalism. The museumhas Museum inLondon, for example, asessentially amonumentto the current trends inBritishmuseums, describingtheScience Tony Bennett’s essay “The ExhibitionaryComplex” their own collections for shows. position of someoneinacinema theater. This “cine-spectator” Someone insideoneof your installations isintheclassical In your installations you tryto address anintelligent spectator. care less. That’s fine. Idon’t care aboutthemeither. just black andwhite, thefilmand television industry couldn’t many showing artists theirworks. Buteven whenthework isn’t you canencounter people whoare interested, andyou’ll see example—have acuriousandvery knowledgeable feel. There The Matrix But really themuseumisextracting allof this . Listening

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Vol. VII Document comparative cinema No. 12 HITO STEYERL IN CONVERSATION WITH JOÃO FERNANDES 2019 Art, a Test Site J F H S H S J F sometimes doesn’t leave much timeto thinkaboutthings. That’s something. At thesametime, thesystem of images you use space for reflection. You are trying to get people to thinkabout sits alone inamore-or-less darkened room that isalsoa museum culture dictates you have to sitstraight for twelve think aboutyour installation. Too often theetiquette of film acknowledging that they don’t necessarily have to watch or they want andwhatever they needto do, which means people. You have to give people spaceandtimeto dowhatever This isaway of organizing time. Andof givingfreedom to installation space. I got thesensethat real-world timewas seepinginto the watching, andthey’d comeandgo from theinstallation space. People were alsohaving drinks andfood while they were They take theirtimeandusethespacefor theirneeds. on beach chairs, reading theiremails, which Ifind really nice. In theinstallation here in Venice many people were just sitting privileged gesture. SoItryto begentle withpeoples’ time. doing just aboutanything else, is quite amodernist, arrogant, when heorshecould becookingorplaying withchildren or to sacrificesixhours to endureof slomo somesort pontification insist otherwise isto take aviolent position. Forcing someone time from them, because they don’t have that much time. To that’s true for spectators too. Idon’t want to extract too much about how it’s anextremely scarce commodityorresource. Well This relates to what we were discussingearlierabouttime, thinking? do you feel aboutthesecontradictions between seeingand is sospeedy. You don’t thinkaboutit; you just watch it. How perhaps areflection of popularculture today where everything there for seven hours, butat thesame timeyou’re seeing an it’s alsoarepresentation of time. Time isreal because you are seven-hour filmisaseven-hour intermission in your life. But compressed system of presenting images. Inonesense, a are interested inbringing real time into cinema, into this Well, thefilmsthat want to imposethatof sort etiquette A Clockwork Orange hours, looking butnot moving, not going to thebathroom. Like in . 120

Vol. VII Document comparative cinema No. 12 HITO STEYERL IN CONVERSATION WITH JOÃO FERNANDES 2019 Art, a Test Site H S J F J F H S J F H S you? construction of abuilding, for example. Isreal timeaproblem for image, which might berepresenting someonesleeping orthe intersection between your personal timeandtheof the works are presented together inanexhibition space? work. How doyou dealwiththeideaof theexhibition whenyour Producing anexhibition isvery different from producing asingle joining. Yes, splicingisviolent—it beginswithacut—butitends with new bodypolitic, if you like. You cannot dothat withoutmontage. creating new bodiesinspaceortimetheimagination—a Yes, absolutely. The cutisaboutdecapitation, butit’s alsoabout to connect, to isolate, to build inaway that produces ideas? example, connect thecutwithguillotine? Editing, for you, is Editing alsocanbeconnected inreal time. Didn’t Godard, for captured by advertising. real timeisbasically television time. Real timeisalways already never that much attracted to real time. Farocki pointsoutthat necessarily seemto belong to oneanother. This iswhy Iwas The challenge isto bringtogether timesandspacesthat donot moving toward montage. channels, multiple screens, andat that pointyou’re already connect thingsinreal timeeasily unless you have multiple Surveillance isalsovery much aboutreal time. You cannot in aprison, somekindsof monastery orwatching soccer. plural. Real timeasamonolithblock happens only indetention, No, it’s not aproblem: butreal timetoday isfragmented and new problems. that work islater usedinanexhibition, theexhibition creates produce awork not for anexhibition butfor itsown sake and I often seeacontradiction whenIwork withartists. Whenthey answer yet. I still have to figure that out! I’ve beentrying, butIdon’t have the 121

Vol. VII Document comparative cinema No. 12 HITO STEYERL IN CONVERSATION WITH JOÃO FERNANDES 2019 Art, a Test Site H S J F J F H S J F J F H S H S work well. I’m still figuring outhow this works. Please just tell in afilm, but Idon’t have enoughexperience to know what will of montage, of editing. You tryto create dynamic, acertain like Major exhibitions are particularlyliable to give riseto questions the birth of anewthe birth equation. moving images create new problems. Isuppose we are facing the cinematheques produce exhibitions. Andexhibitions with cinematheque. Exhibiting film changed everything. Today even of cinema, andthey are totally different from Langlois’s first room. Today we have museums of the moving image, museums preserving, collecting, andshowing filmsinsidethecinema a cinemaroom, andthemuseumactivity was focused on When HenriLanglois created thefirst cinematheque, it was do? I realize that. Most of mywork istime-based, sowhat canyou the timeIneed. works inanexhibition, Iget frustrated because Ican’t take all room, thesituation istotally different. Often whenIseeyour But whenthey’re going from onedarkroom to another dark painting to another painting, onesculpture to another sculpture. a dynamiciseasierwhenviewers are just strolling from one I suspect thetypeof exhibition makes adifference. Creating Exactly. We’ll know after thefact. We’ll findout together... me! trying to recognize the exact pointat which Istarted watching. I images repeated that Ifound myself constantly just focusing on that Ithought was amazing, really beautiful, butsomany of its until you seethat frame again. Irecall onefilmIsaw recently trying to remembering thefirst frame you see, and then waiting moving images isentering into theroom at arandom point, I findthatart themost difficultthingaboutexhibitionswith Yes, it’s allabout orchestrating time, again.

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Vol. VII Document comparative cinema No. 12 HITO STEYERL IN CONVERSATION WITH JOÃO FERNANDES 2019 Art, a Test Site H S have smallchapters—three, four minutes andthenanew I tryto factor thisinto mywork. Itryto structure thingssothey find thisfrustrating. of theartist: of post-productivity that shecallscirculationism. Inthewords differences between amodelof productivity andacriticalmodel reinterpretation, Hito Steyerl’s work leads herto discover the and reproduction, between interpretation andongoing of the images to new concepts. Between production involves areinterpretation, theassociation andreorganization to reedit it, adding intheinvisible work of theviewer; steps into thesameriver twice. To watch afilm over againisalso have seenorexperienced before, of beingaware that noone way of restarting time, of reliving andreinterpreting what we condensing theviewer’s experience. The loop isalways another of theloop asastrategy for orchestrating timeandaway of Our conversation isinterrupted just whenshewas speaking close: Hito isleaving Venice andwe don’t have much time. It’s thesamewiththisconversation. We have to bringitto a from thebeginningbutinacondensedform. from thebeginning. Then you repeat point, at acertain start substory starts. Witheach new chapter you cantryto follow proposes, inthinkingaboutthepossibilities of applying free films, but rather of makingfilmspolitically... Oras Hito Steyerl politically. AsGodard said: it’s not amatter of making political are anexample of thefact that they cannot bemadeother than way of reinventing that place. By intervening inreality, herworks is no reinvents theplaceof art. Shereminds usthat, just asthere Embracing thenotion isatest that art site, Hito Steyerl critically topos exposing state scopophilia, capitalcompliance, and of recodingbecome theart orrewiring thesystem by corporate friendshipandhardware monopolies. Itcould circuiting existing networks, circumventing andbypassing circulationism, being assuavely vacuousaspossible. [...]. Crucially, networks, andalienation, about advertisement andabout It isaboutthepublicrelations of images across social but of post-producing, launching, andaccelerating it. “Circulationism of isnotmakinganimage, abouttheart wholesale surveillance.” withoututopia, occupying canbea theplaceof art if reinvented, could alsobeaboutshort- 4 it always 123

Vol. VII Document comparative cinema No. 12 HITO STEYERL IN CONVERSATION WITH JOÃO FERNANDES 2019 Art, a Test Site Published in: GUERRA, Carles; STEYERL, Hito; FERNANDES, João (2015). © João Fernandes © João © Hito Steyerl © 2015, MuseoNacionalCentro deArteReina Sofía held from 10November 2015to 21March 2016. Madrid: MuseoNacionalCentro deArte Reina Sofía. Catalogue publishedto accompany theexhibition 5/ Ibid.5/ dead/ lable onlinein Hito Steyerl,4/ “Too Much World: IstheInternet Dead?”, (accessed October 2015). 3/ Mass., The MIT Press, 2003. Alexander2/ Alberro, Knowledge of Language: ItsNature, Origin, and Use plainly at variancewithobvious facts abouttheworld around us.” NoamChomsky, widely accepted although they are completely withoutfoundation andoften 1/ “[The] abilityof totalitarian systems to instill beliefs that are firmly held and http://www.amielandmelburn.org.uk/collections/newformations/04_73.pdf and circulated, why can’t everything elsebetoo?” internet accessbeyond theinternet: “If images canbeshared http://www.e-flux.com/journal/too-much-world-is-the-internet- Conceptual Artand thePolitics of Publicity , New York, Praeger, 1986. Hito Steyerl: duty-free art e-flux journal 5 , Cambridge, No. 49. Avai .

- Vol. VII comparative cinema Arnau Vilaró No. 12 2019 Moncasí

BENAVENTE, Fran. 124-127 El héroe trágico en el western. El género y sus límites. Athenaica, Sevilla, 2017, 356 p.

Date of reception: 02/07/2018 Date of acceptance: 27/08/2018

Tag Gallagher wrote that the hero of John Ford’s movies stands out for his emotional vulnerability rather than for his physical strength, though at the same time he supports humankind and his community, and he seems to be pointing to a better world (GALLAGHER, 2009, p. 638). El héroe trágico en el western (“The tragic hero in the Western”) could be the story of this hero, riding away carrying the burden of a world with codes that are now remote, but which he needs to relive to ensure his place in the tale. The story of a hero who no longer operates as such, but who comes back from the dead to find a sign, probably his last, that maintains him as a participant in a worn-out genre. Ultimately, it is the story of the culmination and crisis of image-movement, because what is lacking in this hero – who is vulnerable and free at the same time, standing on the sidelines but crucial to the heart of the community – is precisely sensorimotor skills, the basic element for action- image, and which Deleuze believes (not by chance) that has in the Western its most paradigmatic genre.

Before he hands over to cinema, before he even adopts a view over how to tackle the images and the history that flows through them, Fran Benavente introduces a concept: the “limit”, and which is inseparable from a second term: “transgression”. Gilbert Durand, this volume’s noted anthropologist, explores the reciprocity between the two terms. He believes that the limit involves a twofold crisis: on one hand, because of its exaggeration, and on the other, because of the canceling of its identification. This crisis specifically marks the dual path to which the final images of this study lead us. But first of all, let’s return to the basic issues. How

https://orcid.org/0000-0002-4698-8363 124 Vol. VII Review comparative cinema No. 12 ARNAU VILARÓ MONCASÍ 2019 BENAVENTE, Fran. https://orcid.org/0000-0002-4698-8363 El héroe trágico en el western. El género y sus límites limit, allontological doubts show atragic aspect” (p. 111). Itisthe what positiondoesthe hero perceive it? “All questioning of the narrative resources doesthisdialectic lead to? Andabove all, from they occupy aspacecenter stage? Which syntactic, plastic and are limitandtransgression expressed intheWestern? How do Lang, 1955)whenheblurted outto Jeremy Fox that theexercise (or actually, learned)from young John Mohunein horizon. In some way, what thefilmconfirmed Serge Daney took up, to wounded –to depart die–andto headoff towards the calls after hishero asthelatter isleaving thelandwhere hegrew Shane Clementine arise from two films: some of thequestions that Benavente asks repeatedly, andwhich What isleft of thefounding energy inthehero’s actions? These are does thehero reinterpret it? How doesafigure regain itsdynamics? genre belongs to amythicalpast that canonly beevoked? How the center of adiscussiononthegenre. What happens whenthe their complexity, placingthefigure of thepost-classical hero in filmmakers andtheconstellations between filmsunfold inall of aghost andtheresistance of theold spectator inthepresent, no longer exists asanaction for thehero, orof theresurrection the journey from disappearance to deflagration, whenviolence and onto Monte Hellmanand Jim Jarmusch. Inorder to understand Ford to ClintEastwood; from George Stevens to SamPeckinpah transgression. From Sergio Leone to Quentin Tarantino; from John is comprisedowes everything to thelinkbetween limitand The discussionbetween theimages of which thisvolume main ambitionsof permeable visionbetween history andrepresentation that the of cinemabefore andafter World War II. Itisinthistransversal, genre, but alsotheclassicrepresentation modelandthehistory tragic aspect, anditsrole might explain not only thesystem of the face of thehero whoembodiestheWestern that expresses this daytime world, typicalof Westerns of thefirst two decades of the what Durand callsthetwo areas of imaginaryinfluence: the heroic claims, hasto remake theframe, anditisthenthat itsplitsinto time: invoked like aghost placedinclose-up. This hero, Benavente to. Here we have thehero of aclairvoyant cinemainsearch of lost beautiful films, thehero isincapable of takingaction like heused first person. But at thesametime, just like inHitchcock’s most about thehero’s adventure, and whowants to experience itinthe the kidin had beenbeneficial. Because just like inLang’s film, Joey Starrett, isrooted innostalgia: from thepointof view of aboy who Shane (JohnFord, 1946). , isalsothechild of acinemathat haslearned El héroetrágico enel Shane (George Stevens, 1953)and western lie. Moonfleet My Darling (Fritz 125 Vol. VII Review comparative cinema No. 12 ARNAU VILARÓ MONCASÍ 2019 BENAVENTE, Fran. https://orcid.org/0000-0002-4698-8363 El héroe trágico en el western. El género y sus límites this point: “The manyou onceknew isnomore. There’s not avestige film containsaquite significantpiece ofdialogue that highlights through DocHolliday (Victor Mature) in destroyer. The author dealswiththishistorical limitmasterfully century,20th andthedarkness, linked withdeath; withtimethe (Michael Curtiz, 1939)and Walsh, 1941), The Return of Frank James the classicalframework” (p. 174). conscience of thecharacters” are “symptoms of animbalancein as fate andthedramatic reinsertion of aghost that torments the hero, andwithitto make itclear that omnipresence of death “the meticulous analysis, creates aneedto thinkupagenealogy for this The tragic scenein 50’s, andessentially tragic. Western hero andtheinternalization of ahero’s conflict, that of the well-defined antithetical forces that are faced by theclassicepic it announcesahistorical transition intheWestern: between the The ManWhoShotLiberty Valance Henry Fonda, inFord’s later work ( Clementine The sequenceprefigures thetragic narrative twist of images upto asituation that goes beyond all possible action. ability to create apause intheaction and, therefore, to openthe cinematographic form to express theideathat cinemahasthe of atragic word. ButFord’s staging transforms theatricality into monologue. What isthemonologue declaring? The acceptance takes ontherole of spectator andthenactor of a charged momentthat occurs, andnot by chance, whenHolliday scene”. momentinthefilm(andthis volume); Itisanimportant cough, appears inakey scenethat Benavente callsa “tragic wound, presented metaphorically intheform of atuberculosis challenge fate, Holliday doesn’t seeany possible change. The hero’s the shadows after sunset. While Clementine would bewillingto of himleft. Nothing”, Holliday says to theyoung Clementine in of ruin andemptiness that leads nowhere, aswe saw withthe sketches outtwo possible paths: ononeside, there isthepath of theWestern hero in Americancinemainthe70s, Benavente on theother, Jean-Baptiste Thoret, regarding thecontinuation limit. Inlinewiththeworks of, ononehand, Astre andHoarou, and the transgression seemsto completely swallow upthenotion of its limit. Thus, thefifth chapter finisheswithanendinginwhich there isonly room for regeneration after ithasbecomeaware of explain adecisive momentinthehistory of thegenre, inwhich Hughes, 1943) are someof thetitles that theauthor mentionsto ’s hero, aswell asitsunfolding, here shown through Union Pacific My DarlingClementine The Outlaw (CecilB. DeMille, 1939), (Fritz Lang, 1940), Jesse James TwoRode Together [1962]) at thesametimeas (Howard Hawks, Howard My DarlingClementine , andBenavente’s High Sierra (HenryKing, 1939), Hamlet Dodge City Dodge [1961]and My Darling ’s famous (Raoul . The 126

Vol. VII Review comparative cinema No. 12 ARNAU VILARÓ MONCASÍ 2019 BENAVENTE, Fran. https://orcid.org/0000-0002-4698-8363 El héroe trágico en el western. El género y sus límites Bibliography Cinema El héroe trágico enelwestern. Elgénero ysuslímites. How to quote GALLAGHER, Tag(2009). is agesture that isnot allowed to articulate, andwhich explodes carrying power, andtherefore priorto theimage-action, sinceit is animage-energy, placedintheoriginof thegenre andthehero’s rock where thefilmseems to break apart. Onthe other side, there and respects. open up, demandingusto revise ourviews inallpossible places classicism andmodernity, thespaceof acrevice that continues to theory that focuses on the border, theboundarybetween en elwestern the great Hollywood form after World War II. Thus, all, to helpusunderstand theculmination, crisisandresistance of A bookthat iscrucial for theinterpretation of thegenre, butabove discovering that ithastaken eight years to bringoutthisvolume. A statement that thereader of thisbookmight alsoecho after claim, as John Mohunedid, that theexercise hasbeenbeneficial. The perspective inwhich theessay isrooted might allow usto postmodernity, asinthecaseof Milch, HBO, 2004-2006), ortherevival of thefigure of thehero in in thedeconstruction of theWestern, since Benavente, whoalsodoesnot forget theplacetelevision hastaken has agenealogy, canonly beunderstood from thepresent,” notes ( voice to to modernity findananswer intheashes of the Western ( modernity of thetwilight hero ontheborderline between classicismand framework, andwhich lead usto contemporaneity: therecovery paths that theauthor declares, basedonDurand inthetheoretical nothing to befounded orestablished” (p. 214). These are thetwo the livingdeadwhowanders through cemeteries inwhich there is Peckinpah, 1971). Inthiscontext, hero isdefinitively“the one of symptomatically, violently, like at theendof unusual endingof Dead Man , Vol. VII, No. 12(2019), p. 124-127. , Jim Jarmusch, 1995). “All thisprocess, which obviously Unforgiven is inscribedinthetradition of acinematographic

VILARÓ MONCASÍ, Arnau(2019). The Shooting [ClintEastwood, 1992]), orinstead givinga John Ford. El hombre ysucine (Monte Hellman, 1966), ontop of a (See originaltexts at theendof thejournal) Translated by Daniela Torres Montenegro Kill Bill (Quentin Tarantino,2003). Deadwood Straw Dogs BENAVENTE, Fran. BENAVENTE, El héroeclásico Comparative Comparative . Madrid: Akal. (David (Sam Vol. VII comparative cinema Clara No. 12 2019 Santaolaya

DIDI-HUBERMAN, Georges. 128-131 Pueblos en lágrimas, pueblos en armas. El ojo de la historia, 6. Shangrila, Santander, 2017, 476 p.

Date of reception: 05/02/2018 Date of acceptance: 27/08/2018

«Les malheureux sont la puissance de la terre» Saint-Just

Our first impulse when approaching this piece (“People in Tears, People in Arms”) is to see it as a follow-up or juxtaposition to People Exposed, People as Extras (DIDI-HUBERMAN, 2014). However, what we have before us is, in fact, a corollary; an emphasis on certain lines of thought that Didi-Huberman had already explored in his previous project.

The oppression exerted by representation is assumed here from the very first lines; it is a given. The representation of the people continues to embody a dual aporia for Didi-Huberman, since the people as a unit of identity don’t exist at all for him, instead he views it as a hypostatized representation that focuses either on the sense of identity (which is fictional and exalts populism) or on the sense of generalization, which is unfindable.

The starting point of the book places us before the tears with which peoples show their impotence, and manifest their powerlessness, generating a mirrored suffering in the spectator. It is, therefore, a link between the emotions themselves and the images that mediate them. But Didi-Huberman – a faithful reader of Walter Benjamin and his contraposition of aura and technical reproducibility – considers that in the modern-day mass society, emotions are mediatized and priced. Certain tears replace others, thereby losing all their dignity, their singularity and their collective strength.

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Vol. VII Review comparative cinema No. 12 CLARA SANTAOLAYA 2019 DIDI-HUBERMAN, Georges. https://orcid.org/0000-0001-9941-3304 Pueblos en lágrimas, pueblos en armas. El ojo de la historia, 6 in arms. way to activate thepeople’s greatest potentiality: riots, thepeople people intears, theirown identity, theirvoice andpower, andinthis back to thosedisfigured faces, which are underrepresented inthe Thus, thejourney proposed by isto Didi-Huberman manage to give One of themost interesting pointsinthework istheauthor’s tears becomerevolution. fracture of powerlessness, where pathos into turns praxis, where it culminates inagrand finale, an authentic celebration of the narrates of anew thebirth nation that arisesoutof pain. However, repression. Potemkin speaks of adeath, butanexhilarating one; it lamentation into turns accusation, which isvery soonsilenced by quickly riseinrevolution. InOdessa, thepainbecomesaction, tears. The fists that are clenched insuffering andlamentation mourning, cryingoutfor justice through thehelplessness of their rebelled against injustice, thepeople cometogether to share their ( lamentation inOdessaEisenstein’s images that enable himto histhesis: affirm thescene of And thisiswhere presents Didi-Huberman uswiththe eloquent interestingly, Judith Butler placedpopularprotests andriots. the connection between theaffective andtheeffective, where, to theexterior. The Nietzschean willto power would placeitin door to internal depth and, at thesametime, acrucial opening Emotion isadialectal move that isoutsideitself; itopensa intended. and completely divorced from thepassivitythat was initially affected, through aninversion that isemancipating, transforming to that affirm emotion/pathos canbedefined asthe power tobe from Aristotle to Bergson, viaSpinoza andSartre. Heusesthisshift image. The journey onwhich sets Didi-Huberman outwilltake us ontology of emotion, anditsintrinsicconnection to anontology of To that end, thenext step heproposes isto tryto create an in expressionist rhetoric. people are immobilized withintheMarxist rhetoric, andtheir tears In Barthes’ eyes, Eisenstein makes two significantmistakes: his homogeneity and, therefore, itlacks value. truth of which results inpure expressive intent, pure ideological spectator becomescrushed intheemphasisonlamentation, the that theold ladiesinOdessa cryinaunited, obvious way. The us.concern In critique of theanalyses Roland makes Barthes of theimages that Bronenosets Potemkin, The Third Meaning The Third 1925). Amanhasdiedbecause hehas Potemkin , objected Barthes to theidea hastoo much pathos, interms Battleship Potemkin 129

Vol. VII Review comparative cinema No. 12 CLARA SANTAOLAYA 2019 DIDI-HUBERMAN, Georges. https://orcid.org/0000-0001-9941-3304 Pueblos en lágrimas, pueblos en armas. El ojo de la historia, 6 what causes theborders of the “me” to explode andthebarriers Meanwhile, argues Didi-Huberman that emotions are precisely ideas andcomplicitdiscourses. of hysteria, andtoo much logos, withregard to pre-established survive, and itwillbereborn countless times before oureyes, at thesametime. This dualgesture of lamentation andrevolt will enabling thegestural motif to berepeated andto contradict itself raising thosesamefists that hadbeenheld to their chests, thus they are alsotears of anger, ripping off theirneckerchiefs and dialectically, because they crytears of sorrow, of pain, of pity, but status intherepresentation of thepeople. Odessa’s weepers cry Deleuze’s aversion to dialectics, instead granting itanessential Near theendof theproposed reasoning, rejects Didi-Huberman grantedHuberman to emotion. of themselves –anabilitywhich, we should remember, Didi- of thought andaction, andcanviolently take spectators out displacement process inwhich pathos canacquire theforce his images: theconcept of ecstasy. That is, abrutal, explosive filmography andthe reason for Didi-Huberman’s interest in And here we reach akey concept for understanding Eisenstein’s Eisenstein at thetime. point, to becrucial for Didi-Huberman, asthey were already for transmissible andenunciable) andtheconflict prove, at this cuts (which were, for theRussian director, theway to make pathos In order to successfully produce thisdisharmony, theediting, the creators of history. into theobjective events; itclaimsthat emotions are alsothe just alyrical construct. The pieceattempts to introduce apathos paradox was itsintention to benot just ahistorical chronicle, not Eisenstein believed that (asdoesDidi-Huberman) finds adialectical place for thecommunity’s pathos. aren’t powerless, given that, intheircallto arms, theiremotion of the “I” to break down (p. 172). Inhisopinion, Eisenstein’s people even intheirpowerlessness. to restore thepeople’s right to present andrepresent themselves, in itself unites aesthetics, anthropology, ethics andpolitics)serves representation. Given that dignityastheobject of theimage (which up to now withthepeoples’ senseof dignitythrough theirtearful The author endshisreflection by linking everything we have seen these emancipatory gestures (p. 406). because theimages manage to act asthemeans of survivalfor all Potemkin ’s ’s 130

Vol. VII Review comparative cinema No. 12 CLARA SANTAOLAYA 2019 DIDI-HUBERMAN, Georges. https://orcid.org/0000-0001-9941-3304 Pueblos en lágrimas, pueblos en armas. El ojo de la historia, 6 Buenos Aires: Ediciones Manantial. Bibliography DIDI-HUBERMAN, Georges (2014). parative Cinema parative Pueblos enlágrimas, pueblos enarmas. Elojodelahistoria, 6 How to quote to thepeoples’ affirm memoryandtheirdesire to create aself- and cultural environment from which they emerge. Inthisway, dialectizing emotions canwe refer themto thehistorical, social reading of thefiguration of peoples, andargues that only by With thispiece, creates Didi-Huberman anagainst-the-grain nameless of theoppressed andto provide afair representation for the determined future, following theBenjaminianpath of thetradition inhistory.

SANTAOLAYA, Clara (2019). , Vol. VII, No. 12, p. 128-131. (See originaltexts at theendof thejournal) Translated by Daniela Torres Montenegro Pueblos expuestos, pueblosfigurantes. DIDI-HUBERMAN, Georges. DIDI-HUBERMAN, . Com -

Vol. VII comparative cinema Annalisa No. 12 2019 Mirizio

FILLOL, Santiago. 132-135 Historias de la desaparición. El cine desde Franz Kafka, Jacques Tourneur y David Lynch. Shangrila, Santander, 2016, 302 p.

Date of reception: 11/05/2018 Date of acceptance: 23/05/2018

Almost at the end of his study, the author of Historias de la desparición… (“Chronicles of a disappearance”) recalls that Gian Lorenzo Bernini “stole marble from the ruins of the old Roman Empire to build the late Renaissance new sculptures” (p. 264). I don’t know if it is true that the Italian sculptor (who clearly made a virtue out of necessity) really did this, but I do know that I find in that gesture the perfect metaphor for a kind of writing that feeds on the circulation of different critical notions and paradigms to find a new impetus.

Santiago Fillol’s text can be considered as an extensive display of this kind of writing where the analysis of off-camera techniques – a type of figurative method typical of (but not exclusive to) cinematographic representation – is underpinned by a constellation of texts and concepts that weave together different theoretical traditions to produce a critical perspective that is as unexpected as it is rigorous.

The text could be read via three different core ideas, the first being a mindful, precise theoretical analysis of off-camera techniques as a figurative method. Taking the structure of the chase as his starting point, the author shows how, as far back as in Jacques Tourneur’s films (and particularly fromCat people [1941] onwards), the classic model has been ripped apart: Alice, the woman being chased, has lost her pursuer, and so the model has been left empty and lacks the subject that should sustain the direction of the

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Vol. VII Review comparative cinema No. 12 ANNALISA MIRIZIO 2019 FILLOL, Santiago. http://orcid.org/0000-0002-1750-6185 Historias de la desaparición. El cine desde Franz Kafka, Jacques Tourneur y David Lynch The study continueswith ananalysis of how the Tourneurian ‘become present’ from that image that we donot see” (p. 64). camera techniques that Tourneur employs, “something canonly action. Infact, Fillol explains that, inthestrange usesof theoff- heaven; rather thelogic of extermination” (p. 235). by therepresenting of theirdisappearances doesn’t illuminate a based onthefact that intheirimages prefiguring“the that islitup two directors (Tourneur andLynch) which, according to Fillol, is techniques intheframe, orwhenheanalyses theaffinitybetween as anidealplaceinwhich to study the of thebook,final part whether itbewhenhepresents Lynch’s films played inFillol’s criticalwork isexplicitly formulated here, inthe The central role that Erich Auerbach’s figural interpretation has that missing oneshave ahistory”“their (p. 276). of theclassicstructureapart of thechase isalsohistorical, and world which, after Shoah, knows perfectly well that theripping camera technique becomesafigure of horror inthecontemporary finds theculmination of the twist;Tourneurian where the off- However, itisinDavid Lynch’s filmswhere the author of thisessay images andbodies(p. 107). L’Avventura characters exiting theframe (asinthecaseof AnnainAntonioni’s (p. 101), orby withabstraction”“flirting which, besides leading to ‘feel’ thepresence of theimage inallitsrawness”, asBresson did (p. 91), by liberating theframe “from itscausal mooringsto let us manifestation of absence”, which iswhat happens inOzu’s cinema shows something that isabsentinorder to become “a temporary camera technique: eitherby causing itto nolonger beaspacethat different ways, succeededindissolvingtheclassicuses of theoff- of them, usingdifferent approaches andfocusing onduration in of Yasujirō Ozu, RobertBresson andMichelangelo Antonioni. All narrative operations inmodernity, andspecifically inthe works proposal promotes a “continuity insuspension” inseveral de- construction of acriticalgaze that aspires to bedialectic and this timeit’s not thestory of amethod, butrather of the This secondcentral idea canalsobedefined asa story, although good example of this. cinema, andthe second core ideaonwhich thisstudy isbased a image) of how Fillol works to renew apparatus the hermeneutic of much ontheaura asonthereadability andknowability of the which Walter Benjamin’s contributionshould beadded, not so This appeal to Auerbach’s figural method isjust one example (to [1960]) causes areverberation of thisabsenceinother reverberation of off-camera 133

Vol. VII Review comparative cinema No. 12 ANNALISA MIRIZIO 2019 FILLOL, Santiago. http://orcid.org/0000-0002-1750-6185 Historias de la desaparición. El cine desde Franz Kafka, Jacques Tourneur y David Lynch Lynch’s cinemabefore Tourneur’s images. [...] Ithinkcanseemore title) anddisciplinarydivisions: “I [theauthor writes] saw David from both chronology (which islater reclaimed inthevolume’s philologist. Itisastory inwhich theorder of reflection isfreed dual, just like every interpretation should befor theGerman proposing new questions for histexts: “What kindof images was design inthewritingof theauthor of of filmtheory?” Thisisnot about revealing any cinematographic would happen ifwe read Kafka from apparatus thehermeneutic cinema, theauthor of has adapted Kafka’s work, ortheKafkaesque nature of Lynch’s works.in certain Because of this, far from dwelling onhow cinema “seeing figurative how aparticular mechanism operates” (p. 224) adding interpretations orsolvingmysteries; heisinterested in Nevertheless, as we recalled, Santiago Fillol isnot interested in “represent horror” but rather “participate initslogic” (pp. 161-170). was completely unknown untilthen” inwhich theimages donot for readability; both construct “a typeof disappearance that sequence orthestory, instead of succumbingto theclassicdesire both of themaccept thestatus of theunintelligibility of the specifically between and Tourneur Franz Kafka: asFillol recalls, history of cinema(Tourneur and Lynch) butare alsointerartistic, or perhapsconcomitances, that are not only internal to the from a “mixed library” enables himto conjecture onother affinities, On theother hand, thisinterpretation that theauthor carries out critic, asGonzalo Aguilar hasrightly claimed(2015). occurrence, butanunavoidable conditionof thecontemporary of theconceptual arsenal usedto question it. Itisnot anunusual questioning of theartefact goes hand-in-handwiththerenewal of a “historical remontage” (asFillol defines it)inwhich the (pp. 220-221). Thus, thistext canalsoberead asthechronicle in which that mechanism hasbeenachieved withpremeditation” in Tourneur’s images because Ire-know itfrom [Lynch’s] images clearly theformation process of auniquefigurative mechanism critical approach that feeds onthecirculation of questions, notions one to which Ihave referred since thebeginning: thisisanew cinema. Andthis leads meonto thethird core idea of theessay, nowadays inseparable from theway we have learnedto seefrom work, how our criticalgaze haschanged, how theway we read is In thisway, Fillol shows, through theevidence andrigor of his images?” (p. 166). process, what staging mechanism was beingplayed withinthese Kafka shapinginthesepassages [ Historias deladesaparición… The Castle The Metamorphosis ]? Orbetter still, what wonders: “what , butabout 134

Vol. VII Review comparative cinema No. 12 ANNALISA MIRIZIO 2019 FILLOL, Santiago. http://orcid.org/0000-0002-1750-6185 Historias de la desaparición. El cine desde Franz Kafka, Jacques Tourneur y David Lynch políticas delcine. Bibliography Lynch. la desaparición. ElcinedesdeFranz Kafka, Jacques Tourneur yDavid How to quote AGUILAR, Gonzalo (2015). interartistic comparatism inwhich theexperiencing of theimage is view. Thus research, butalsoto reread itfrom acinematographic pointof and which allows theauthor to not only includetheliterary inhis and paradigms derivingfrom different theoretical traditions, viewed asconstitutive of thecontemporary criticalgaze. Comparative Cinema Comparative Historias deladesaparición… Mexico: Fondo deCultura Económica.

MIRIZIO, Annalisa(2019). Más alládelpueblo. Imágenes, indicios y , Vol. VII, No. 12, p. 132-135. (See originaltexts at theendof thejournal) Translated by Daniela Torres Montenegro FILLOL, Santiago. FILLOL, pointsto anew phaseof

Historias de Vol. VII comparative cinema No. 12 2019 poder representación del de ficciónenla Dispositivos la esfera pública. Iconografías en —original texts En su libro Farewell to an Idea: directa a las obras de Miguel Ángel Episodes from a History of Modernism y Bellini o a la muerte del personaje (1999), Timothy J. Clark dedica un de Pina en el largometraje Roma, capítulo titulado “Painting in the ciudad abierta (Roma città aperta, Year 2” al lienzo más famoso de la 1945), de Roberto Rossellini, para ser Revolución Francesa, La muerte el medio con el que el fotoperiodismo de Marat (1793), de Jacques-Louis contemporáneo singulariza el drama

comparative cinema comparative David, que presenta como la primera particular en el seno de una tragedia gran obra de la modernidad. A juicio colectiva. No obstante, resulta de Clark, lo que singulariza este revelador entender que la figura del cuadro es cómo la “coyuntura”, líder caminando en solitario hacia la trama histórica, entra en el la investidura, de Barack Obama a procedimiento pictórico y lo invade Vladimir Putin, parece evocar una de una manera absoluta, a riesgo de y otra vez los pasos solitarios de anular cualquier referente pasado. El joven Lincoln (Young Mr. Lincoln, Como respuesta y discusión de 1939), de John Ford, y los lienzos esta afirmación, Carlo Ginzburg, en de Andrew Wyeth, o que en ciertos su libro Paura, Reverenza, Terrore. gestos de las fotografías del mayo del Cinque saggi di iconografía politica, 68 francés o de las cargas policiales ha tratado de demostrar que en contemporáneas reverberan fórmulas toda imagen coexisten la trama de pathos arcaicas. política coyuntural con un trasfondo histórico, religioso e iconográfico que Con el propósito de delimitar vehicula el contenido emocional y un campo de estudios de una 137 los códigos de expresión del poder. potencialidad extraordinaria, que es Lo que hace extraordinario el lienzo el de la iconología y la iconografía de David, de acuerdo con Ginzburg, de las imágenes con las que el es precisamente el hecho de investir poder se representa en la esfera la figura de Marat con los atributos pública, entendida como un espacio cristianos del martirio. ¿Cuántas de negociación entre agentes en el veces hemos visto, a lo largo de la que la tradición cinematográfica historia del cine, el cuerpo yerto y posee un influjo fundamental, este el brazo caído de un personaje, a número monográfico deComparative imagen y semejanza de Marat y de Cinema se acerca al estudio de los Cristo, como signo inequívoco de la motivos visuales desde posiciones muerte dramática y expiatoria de un afines a la tradición que, de Aby personaje? Warburg a Georges Didi-Huberman, Carlo Ginzburg o Horst Bredekamp, Sin embargo, el cine, como antes trata de analizar las supervivencias la pintura, no sólo es un espacio de visuales en la circulación de gestos, llegada, esto es, de perpetuación de fórmulas expresivas y estructuras motivos iconográficos anteriores, de poder. A lo largo de las páginas desde la Piedad hasta la figura del monográfico, se enlazan textos solitaria disolviéndose en el que aportan un recorrido minucioso horizonte, sino también el lugar por las fuentes metodológicas desde el que se ha ido fraguando un de la iconología con aplicaciones imaginario contemporáneo que se ha específicas al proceso político

Editorial pública. en la esfera Iconografías de ficción en la Dispositivos del poder representación infiltrado en las representaciones de en Cataluña, la representación la esfera pública. Así, por ejemplo, de la crisis inmobiliaria o el no es necesario que el mencionado estudio de figuras políticas como 2019

No. 12 No. motivo de la Piedad aluda de manera Harry Truman. En su conjunto, el Vol. VII Vol. número perfila el horizonte de 1981) no sólo atiende a la circulación una expansión metodológica del de las formas de resistencia política análisis iconográfico que el grupo de sino también a un sinfín de lienzos en investigación CINEMA (Colectivo de los que ésta se ha encarnado, de La Investigación Estética de los Medios libertad guiando al pueblo (La Liberté Audiovisuales) de la Universitat guidant le peuple, 1830), de Delacroix, Pompeu Fabra (UPF) ha auspiciado a La huelga (The Strike in the region

comparative cinema comparative desde sus orígenes y que, con el of Charleroi, 1886), de Robert Koehler, proyecto MOVEP-Los motivos visuales cuyas latencias parecen pervivir a en la esfera pública. Producción y lo largo de la historia del cine tanto circulación de imágenes del poder como en las imágenes de la esfera en España, 2011-2017, se sitúa en pública donde hoy en día anida una la trama entre el estudio del cine, continua mutabilidad de los motivos la esfera pública y la construcción visuales del pasado. iconográfica del poder.

«[…] puede haber formas de representación que desafíen al Jordi Balló, Ivan Pintor poder sutil o directamente. Una vez más, la historia del arte puede contribuir a mostrarlo, al observar los atributos de poder que se usaron en pinturas anteriores que no necesariamente reconocemos 138 como tales a menos que los estudiemos, y que permiten de igual modo advertir atributos simbólicos del poder en representaciones visuales contemporáneas», señala Theo van Leeuwen, figura capital de la semiótica social, en una de las entrevistas incluidas en el monográfico. Asimismo, éste se completa con otros documentos: una entrevista a la teórica y artista Hito Steyerl y la recuperación de un texto fundamental de Pasolini en la vinculación entre política e iconografía, el conocido como “Artículo de las luciérnagas” –“Il Vuoto del Potere” (Corriere della Sera, 1975)–, además de los documentos de producción del cineasta Harun Farocki para la pieza televisiva “On Display: Peter Weiss” (1979), en torno a Peter Weiss, uno de los cineastas y escritores que más lejos llevó la exploración narrativa de la

Editorial pública. en la esfera Iconografías de ficción en la Dispositivos del poder representación iconografía política del siglo XX. Su novela La estética de la resistencia (Die Ästhetik des Widerstands, 1975- 2019 No. 12 No. Vol. VII Vol. Vol. VII comparative cinema Victoria No. 12 2019 Cirlot

Las fórmulas 139-149 del pathos y su supervivencia1 Este artículo trata de plantear y comprender lo que el historiador del arte Aby Warburg denominó Pathosformel (fórmulas del pathos), un concepto clave en sus estudios, aunque nunca ofreciera una definición del concepto ni de lo que él entendía de una forma explícita. Se rastrea la aparición del concepto en su obra descifrando su significado y sus implicaciones para el análisis de las imágenes, a partir también de la bibliografía más significativa y reciente sobre el tema. Finalmente, el concepto Pathosformel es aplicado a una imagen fotográfica contemporánea lo que permite una comprensión mayor de su efecto en la recepción del público, estableciendo un diálogo entre la tradición iconográfica del pasado y la actualidad.

Palabras Clave FÓRMULA DEL PATHOS IMAGEN GESTO VIOLENCIA ICONOLOGÍA ABY WARBURG

Fecha de recepción: 01/05/2018 Fecha de aceptación: 28/08/2018

Victoria Cirlot (Barcelona, 1955) Catedrática de Filología Románica en la Facultad de Humanidades de la Universitat Pompeu Fabra. Se ha dedicado, entre otros campos de estudio, al fenómeno visionario y a la vida de las imágenes en libros como Hildegard von Bingen y la tradición visionaria de Occidente (Herder, Barcelona 2005; L’Harmattan, París 2017) y La visión abierta. Del mito del grial al surrealismo (Siruela, Madrid 2010). De próxima aparición es su libro Visión en rojo. Abstracción e informalismo en El Libro de las revelaciones de Juliana de Norwich (Siruela, Madrid 2019).

https://orcid.org/0000-0002-0203-4576 DOI: 10.31009/cc.2019.v7.i12.01 140

Vol. VII Article comparative cinema No. 12 VICTORIA CIRLOT 2019 Las fórmulas del pathos y su supervivencia https://orcid.org/0000-0002-0203-4576 ( siendo justamente «supervivencia» investigación deeste gran estudioso, pathos» constituyó elterritorio de La supervivencia delas«fórmulas del miento (WARBURG, 1906/1979b/2004c). reemergente enlacultura delRenaci las dela«manera antigua» ( el norteysurdeEuropa, enespecial, so elintercambio deimágenes entre de 1905enHamburgo, enlaque expu el arteitaliano, pronunciada enoctubre una conferencia sobre Albrecht Dürer y 27). Warburg introdujo este término en de estereotipos (SETTIS, 1997/2004: en cambio, suponefijeza y repetición vimiento, instantaneidad, la«fórmula», el «pathos» implicainestabilidad, mo compuesto dedoscontrarios: mientras tore Settis, enlamedidaqueestá no «explosivo» según lo calificóSalva creación deunestilo. Eséste untérmi renacentistas delQuattrocento para la poradas ensusobras porlos artistas griego y romano, yquefueron incor lativas que encontró enelarteantiguo, mas expresivas intensificadas osuper Warburg (1866-1929) designólasfor la delpathos) elhistoriador delarte Aby modo espero resolver, sinoplantear en ca hasta elarquetipo, yquedeningún diversas, desdelanecesidadbiológi que puedeplantearse desdeposturas pervivencia esunacuestión compleja cómo yporquétiene lugar esasu culturales. Lacomprensión precisa de na para sobrevivir enotros contextos formulario, laexpresión patética retor implican mutuamente: porsucarácter burg dosconceptos solidarios, puesse y supervivencia sonenlaobra deWar MAN, 2002: 51-90). Fórmula depathos y linealdelahistoria (DIDI-HUBER contrario portanto aunaideaevolutiva idea nietzscheana deleterno retorno, y ficado de«rizomático», cercano a la que Georges hacali Didi-Huberman una concepcióndeltiempohistórico en concreto deEdward B. Tylor, supone vocabulario. Tomada delaantropología, Nachleben Con eltérmino ) laotra palabra clave desu Pathosformel all’ antica (fórmu ------) - - - renacentista, cómoera ésta integrada mentaba suincorporación enelestilo creada enlaantigüedad, ycómoargu Warburg por«fórmula delpathos» der quéentendía exactamente Aby nuestra memoriacolectiva. repertorio formulario formara partede reconocidas porelpúblico, comosiese mulas, lascuales dealgún modoson pueden resolverse según tales fór de quémanera imágenes delsiglo XX trata dedicho dever ejemplo, apartir deunejemplo concreto.do apartir Se y desusupervivencia ennuestro mun de adopciónlasfórmulas delpathos Warburg enlos mecanismoscreativos consiste enadentrarme delamano toda sucomplejidad. Miintención aquí del hombre inclinadade vergüenza y tos, lafuga delos cuerpos, lacabeza extrema locuacidad delos movimien expulsión delParaíso, notar la hacía rostro ysudisposiciónenelentorno. también, larelación entre lacabeza yel por suparentesco conrostros antiguos; tándose tanto porsunovedad como mente laestructura delrostro pregun Filippino Lippi, le interesaba especial (1425-1427) yterminados en1485por lino (1425), proseguidos porMasaccio cia, en los frescos iniciados porMaso enFlorende SantaMariadelCarmine humanos representados enlacapilla (WARBURG, 1888/2004a). Delos tipos su atención enlasformas expresivas August Schmarsow, concentró toda que Warburg asistía alseminariode rante elsemestre en invernal 1888/89 de historia delartedeFlorencia, du Brancacci pronunciada enelInstituto Ya enunaconferencia sobre lacapilla su significadodeusoyaplicaciones. formel en suobra deeste concepto, en elproceso creador. Nohay definición Conviene enprimerlugarcompren 1. Así, en laescenadeMasaccio , demodoquehay quededucir DOI: 10.31009/cc.2019.v7.i12.01 Pathos ------141

Vol. VII Article comparative cinema No. 12 VICTORIA CIRLOT 2019 Las fórmulas del pathos y su supervivencia https://orcid.org/0000-0002-0203-4576 156). Desde laperspectiva darwiniana y sureemergencia» (MURANO, 2016: miento delasformas enlamemoria o nodeunaleyelalmacena queguíe las formas figurativas, yla existencia comprensión «delorigen ylacausa de objetivos queDarwin, quecifra enla warburguiana seplanteaba los mismos ca Murano destaca que lainvestigación 2015: VII) viembre de1888(PFISTERER yHÖNES, algo!» anotó ensuDiarioel29deno «¡Por finunlibro quemesirve para in Manand Animals Florencia: un libro enlaBiblioteca Nacionalde orientada porelventuroso hallazgo de de Schmarsow, pero sobre todo fue formado enelseminario te sehabía al cuerpoyasuexpresión seguramen reconocido (Fig. 1). Esta mirada atenta través delacualelpersonaje podíaser trataba elcuerpocomo unacualidada fecto para comprobar cómounartista dolor. éste unejemplo per Constituía la cabeza alzadaconlos rasgos del conlasmanos,cubierta yenlamujer, Paolo Mantegazza (1831-1910). Sulibro ta delaobra delantropólogo italiano burguiana delasexpresiones. Setra desconocida enlainvestigación war permanecido hasta elmomento había Esta estudiosa añadeotra fuente, que ancestral», siempre presto aresurgir. nicación», «testimonio deunpasado «estrato másprofundo delacomu vivencia deexpresiones ygestos, el elargumentoasí claro delasuper La necesidadbiológica constituiría camente útil»(2016: 157). lo queoriginariamente fue biológi por tanto unresiduo simbólicode zado enunafórmula específica: es fica queconeltiempohacristali través deunagestualidad especí las queelhombre harespondido a cional adeterminadas causas a respuesta primitiva, físicayemo humana yanimal, resulta deuna «la mayor parte delamímica, 2 . Enunestudio reciente Jessi The Expressionof Emotions deCharles Darwin. ------que DarwinyMantegazza sesitúanen En todo caso, lo queparece claro es (2016:rizado porelespectador» 169). modo enquevienepercibido einterio la naturaleza delgesto expresivo ydel es instrumento deanálisisacerca de sión deMantegazza, dondelaimagen influido poreste trabajo sobre la expre parece innegable que Warburg «estuvo sas diversas. Comoconcluye Murano, cuenta deldolor provocado porcau 88 fotografías deobras deartedaban el que7fotografías experimentales, y del dolor: gia deldolore Además, Mantegazza escribió porAbyfirmado Warburg (2016: 162). y elmovimiento expresivo. Ellibro está Darwin yelde T. Pideritsobre lamímica Warburg Institute, junto alvolumen de se encuentraplantadel enlacuarta permitiría seguirpermitiría paso apaso confrontación entre textos eimágenes siglo XV» (2004b: 79). Laideaera quetal estaban interesados losdel artistas rar enquéaspectos delaantigüedad delaépoca conelfindeacla artística ideas delaliteratura poética yteórica de Botticelli conlas«correspondientes trabajo deconfrontar lasdospinturas 1893/1979a/2004b). Setrataba eneste Universidad deEstrasburgo (WARBURG para supromoción enfilosofía enla presentado el8dediciembre de1891 primavera en ilustrados enlaobra deBotticelli, tanto werk sorios enmovimiento» ( los cabellos ylavestimenta. Los «acce los elementos accesorios, tales como vimiento delasfiguras, concentrado en gestual Aby Warburg seocupódelmo del pathos». muy pronto denominará «lasfórmulas nes yellenguaje gestual, odelo que warburguiana acerca delasexpresio el puntodelainvestigación departida titulado El nacimientode Venus Además dellenguaje expresivo y ) se encontraban magníficamente ) seencontraban magníficamente Fisionomiaemimica Atlante deldolore , eltema desuinvestigación (1881)yconcibióunatlas DOI: 10.31009/cc.2019.v7.i12.01 bewegtes Bei como en (1876) en (1876) en (1881) (1881) Fisiolo - La La ------142

Vol. VII Article comparative cinema No. 12 VICTORIA CIRLOT 2019 Las fórmulas del pathos y su supervivencia https://orcid.org/0000-0002-0203-4576 kelmann veía quietud.kelmann veía Encambio, War grupo escultórico delLaocoonte, Winc Winckelmann yWarburg. Hasta enel dos miradas tanopuestas comolasde se encontrará enlahistoria delarte festaba todo lo contrario. Difícilmente múltiples ejemplos enlos quesemani con hannes Winckelmann sedesdecía de unmodoconstante vioenella Jo «quieta grandeza» ( representación delo excesivo, puesla los renacentistas artistas modelos de En efecto, la antigüedad proporcionó a enelterrenotrar delo así superlativo. ser objeto deintensificación para en cuerpo, elmovimiento tambiénpodía o elgesto decualquier miembro del del artedemirar deAby Warburg: testimonio encontramos unmagnífico fúnebre quele dedicóErnstCassirer, y enlos rostros convulsos enlos cuerposagitados burg sedetenía Al igual quelaexpresión delrostro modelos antiguos cuando setra gung ( exigía unaintensificación exterior un modelo deunmovimiento que sejeros vieron enlaantigüedad frar elmisterio delasleyes. Allí siempre enlaestructura ydesci único enelqueintentaba penetrar algo legible comounlenguaje creadora seconvertía para élen De este modo, toda configuración la pasiónydeldestino humano. expresión delserhombre, de sino lasformas externas dela Y para élestas energías no eran grossen gestaltenden Energien des energías configurantes ( detrás delasobrasveía lasgran obras dearte, sinoqueélsentíay efecto enprimerlugarsobre las llos» (2004b: 79)(Fig. 2ayb). Beiwerk en movimiento exterior ( taba derepresentar elaccesorio eine gesteigerte äussereBewe «Su mirada noreposaba en «cómo losysuscon artistas ) ycómoseguiaron porestos ) comovestimenta ycabe stillen Grösse 3 . Enelelogio bewegtes ) que ) que die die - ). ). ------viendo lo queocultabalabelleza exal lo apolíneo,mente aparecía ya estaba hasta talpunto quecuandosimple na siempre sumirada ante laimagen domi ylo dionisíaco como lo apolíneo Nietzsche en noción depolaridadconcebidapor de Warburg, delmismomodoquela está presente entoda lainvestigación de artenacedeldolor ydelsufrimiento te de Mantegna, del círculo quesirvió (1494) yel grabado anónimo proceden La muertedeOrfeo antigüedad enlacivilizaciónmoderna: la historia delasupervivencia dela ciudad servirán de«documento» para conservadas enlaKunsthalle dedicha de 1905enHamburg, dosimágenes conferencia pronunciada enoctubre güedad para mostrar elpathos. Enla esas formas quevuelven delaanti un concepto quesirvapara determinar la queestimule aAby Warburg aacuñar Será unaescenadeviolencia cruenta ca acambiodelacabeza delBautista. Salomé queofrecerá sudanzaorgiásti la sirvientaporcabeza cortada, ola que cambiará lasfrutas delacesta de ya la«cazadora decabezas», la Judith ción, avanzando comosivolara, acecha ma ligereza desuentrada enlahabita rente permite vislumbrar yenlaextre del cuerpoquelavestimenta transpa Novella deFlorencia. Pues enlabelleza la capilla Tornabuoni deSantaMaria Bautista deDomenicoGhirlandaioen la escenadelnacimiento deSan Juan traba la«sirvientaninfa» canéfora de tada, comoporejemplo laquemos La ideanietzscheana dequelaobra ( fuerzas enmovimiento él veía mas reposando enellasmismas, determinadas delimitadas, for vistodonde otros formas habían 200; latraducción esmía). (citado enDIDI-HUBERMAN, 2002: monio duradero delahumanidad» creado comopatri tigüedad había pathos” ( llamaba lasgrandes “formas del bewegende Kräfte Die Geburt der Die Geburt Tragödie Pathosformel DOI: 10.31009/cc.2019.v7.i12.01 de Albrecht Dürer ), lo queél veía ) quelaan - - - - 4 - - - - , - - - - - 143

Vol. VII Article comparative cinema No. 12 VICTORIA CIRLOT 2019 Las fórmulas del pathos y su supervivencia https://orcid.org/0000-0002-0203-4576 kräftig Orfeo atestiguan lafuerza vital ( de resolver laimagen delamuerte rentes aunque coincidentes enelmodo cómo obras deartetotalmente dife a tales modelos. Warburg hacenotar como larecurrencia italiano delartista para representar eltrágico episodio, así en Grecia deunagestualidad patética laelaboraciónmica griegaconfirma ción delamuerteOrfeo enlacerá ción delgrabado italianoconlaresolu (1979b: 125/2004c: 408). Laconfronta tica» ( los modelos deuna«gestualidad paté cubierto delasformas delaantigüedad del s. XV buscaron eneltesoro redes italianosdelasegundaartistas mitad que sepusiera demanifiesto cómo los deza» ( doctrina clasicista dela«quieta gran 1906, Warburg comienzahablandodela la conferencia publicado enLeipzig en (WEDEPOHL, 2014). Según eltexto de das enelInstituto Warburg deLondres nas manuscritas, inéditasyconserva completo deesta conferencia, 50pági b). Todavía nosehapublicadoeltexto BURG, (Fig. 1906/1979b/2004c) 3ay como modeloalemán alartista (WAR oder seelischen Ausdrucks intensificadas ( guas delaexpresión corporal yanímica común deintegrar lasfórmulas anti enlatentativa «se encuentran aquí culo deMantegna]», Warburg, escribía ciudad delgrabador anónimodelcír escena delamuerteOrfeo (Fig. 4). Metamorfosis xilografía delaediciónveneciana delas italiana actualizaba. De1497esla Angelo Poliziano, Orfeo, quelalengua se representaba elprimerdrama de muerte deOrfeo, enMantua1480 del pathos antigua para representar la escuela deMantegna usabalafórmula formel cepto, «fórmula delpathos» ( ahora denominaconesenuevo con elmodelo, artísticos los círculos que «Mantua yFlorencia [serefiere ala für pathetisch gesteigerte Mimik ) ) con la que había arraigado en ) conlaquehabía 5 stillen Grösse . Aldela tiempoqueelartista deOvidioquemuestra la gesteigerten körperlich ), quehaimpedido ) enelestilo Pathos lebens ------) - que siguió elproceso creador deDürer Aunque nofue poresecaminoel que asuvez latomó delos antiguos. italiano cida pormediacióndelartista del empleo deuna de Orfeo estudio derivadodelacopia. además naturalmente delhábito del apropiarse delpasadoyhacerlo suyo, otros artistas, Dürer sentíaquepodía su propia individualidad. Comotantos obsesionadoporlaautonomíaderno de respecto alansiatípicadelesteta mo italianos, ynosrecuerda con sulejanía de copiasDürer deambosartistas laiuolo. Warburg ofrece variosejemplos descubrimiento deMantegna yPol alemán, para quienfue fundamental el entrada delestilo idealantiquizante en in dieMalerei derFrührenaissance Eintritt desantikisierenden Idealstils traducción italiana. Merefiero a publicada porMaurizio Ghelardi ensu su integridad enlengua alemana, pero una conferencia deWarburg, inédita en mel sepuedecomprobar tambiénen 2014). te, lamento, resurrección (WEDEPOHL, triunfo romano/triunfo alegórico/muer cortejo/rapto/conquista/triunfo mítico/ de fórmulas patéticas: carrera/danza/ Wedepohl seencuentra unesquema En unapáginapublicadaporClaudia tear unahistoria psicológica delestilo. Pathosformel pensaba enunasistematización delas es testimonio dequeAby Warburg Apuntes deEstrasburgo delaño1905, denotas,Un cuaderno conocidocomo Gelassenheit ner bodenständigen Nürnbergischen deNurembergimperturbabilidad ( resistencia instintiva desuautóctona alavivacidadmeridionalpagana nía ya queamododever deWarburg «opo childerung vida enmovimiento ( renacentista deladescripción dela El círculo secierraEl círculo conelartista La eficacia del término Pathosfor deDürer esunclaro ejemplo )» (1979b: 127/2004c: 413). )» (1979b: 128/2004c: 415). comounmododeplan DOI: 10.31009/cc.2019.v7.i12.01 Pathosformel bewegter Lebenss La muerte La muerte , cono Der Der sei - («La («La

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Vol. VII Article comparative cinema No. 12 VICTORIA CIRLOT 2019 Las fórmulas del pathos y su supervivencia https://orcid.org/0000-0002-0203-4576 Hércules deAntonio Pollaiuolo ode corporeidad antigua. Enlasgestas de pudiera expresar elritmolibre dela cortés ( no delarígidapompavestimenta cómo Donatello liberó elcuerpohuma 1914/2004d: 587). Warburg muestra de lavidaheroica romana (WARBURG, demanifiesto elpathos imperial ponía y delaescultura triunfal enlaquese el pathos trágico delos mitos griegos, sarcófagos antiguos queexpresaban estilo expresivo efectivamente todo elaprendizaje del aWarburg1906) permitió comprobar escurialensis carnet dedibujosconocidocomo menico Ghirlandaio. Lapublicacióndel tual, para culminareneltaller deDo por los superlativos del lenguaje ges Pollaiuolo, intensamente artista atraído to coincidiríaconlaobra deAntonio lenguaje gestual; unsegundo momen cubridor delasfórmulas antiguas del considerando aDonatello comoeldes de adopciónlasfórmulas depathos, este trabajo Warburg resume elproceso Florencia el20deabril de1914 pronunciada enelInstituto deArte la pintura delprimerRenacimiento») su carácter patético. Todas estas inves lenguaje expresivo ygestual, como así rroborar elcarácter formulario deeste citados parecen suficientes para co ejemplos queaduceWarburg, pero los (2004d: 661-663). Sonmuchos máslos copiados enel de personajes delacolumna Trajana sidoextraídas de los soldados habían las expresiones deltemor enlos rostros lla Tornabuoni demostrar permitía que Ghirlandaio, imagen central enlacapi (Fig. 5). Laresurrección deCristo de grabados deDürer (2004d: 621-627) talla deHércules ylos gigantes con comparar elestilo patético delaba manieristas ybarrocos»,límites para desvanecerlenguaje los gestual hacía qué punto su«retórica musculardel ideal virilatlético, Warburg hasta veía su escuela, perfecta exposición del alla francese en 1905(EGGER, 1905- Codex escurialensis all’antica ) para que así se se ) para queasí a partir delos apartir 6 . En . En Codex

------la necesidaddereunir las del CIRLOT, 2014). Pero queelproyecto lenguaje gestual (SEMON, 1905; ver de laimpresión enlamemoriadel que sobre todo incidíaenelcarácter la obra delbiólogo Richard Semony engramma da entrada aotros, comoporejemplo, aparece enesta Introducción, donde 3-6). Eltérmino época renacentista (WARBURG, 2012: ción delavidaenmovimiento enla tiene comofinalidadla representa ( inventario ( define elpropósito del Atlas comoun cluso. EnlaIntroducción Warburg tina muertedeWarburg dejóincon del desembocaron enelgran proyecto brich ensubiografía intelectual sobre Burckhardt, comorecogió E. Gom es unaideaqueprocede de Jakob representación alacultura antigua alemánartista (Fig. 6). enteramente alas se encuentra enla (1471). Sellaio, dedicadaaOrfeo yEurídice de lapintura delarcón de Jacopo del de Orfeo delsiglo V a J.C., además nes encerámica ática delamuerte se handispuesto tres representacio fondo delportfolio esblancoyenél diferencia delos paneles del el portfolio enla modo quisohacernotar alintroducir antecedente del paneles del bido demodomuysemejante alos algunas imágenes,aparecían conce un portfolio para elpúblicoendonde Dürer cuandoWarburg hizo imprimir te enlaconferencia de1905sobre con claridadporque fue justamen nuevo estilo renacentista, semuestra mel las tigaciones parciales orientadas por Vorprägungen La atribución delpathos ysu Pathosformel Atlas Atlas Mnemosyne antiguas ysuincorporación enel La muertedeOrfeo está estrechamente ligadoa ( Inventar Engramm Atlas ) antiquizantes, que Pathosformel DOI: 10.31009/cc.2019.v7.i12.01 Tafel 5 Atlas ysusupervivencia . Eseste unclaro Pathosformel Tafel 57 ) de acuñaciones ) deacuñaciones quelarepen ), tomado de , comodealgún del deDürer Pathosfor , dedicada Atlas Atlas no no en el enel . A . A - - - el el - - - - - 145

Vol. VII Article comparative cinema No. 12 VICTORIA CIRLOT 2019 Las fórmulas del pathos y su supervivencia https://orcid.org/0000-0002-0203-4576 1997, «ethos» y enlaquecontraponía de laWarburghaus deHamburgo en conferencia pronunciada enlasalaoval fórmula: warburguianamente lavitalidadde brich atendía alos gestos deduciendo describir elgrabado deDürer Gom guianas (GOMBRICH, 2015: 173). Para germinal delas entendió esta sentencia comolaidea tigua», sostuvo Burckhardt, yGombrich ha producido deunaforma apartir an aparece elpathos de unmodouotro, se Warburg. «Entodos los lugares enque bos términos. Mientras aunque señalala distancia entre am Dilthey yelconcepto de que Warburg conociera eltrabajo de (2004: 27). Settis considera probable por Fritz Saxlensus (Mitra), lo quetambiénfue analizado vencido (Casandra) comoalvencedor hincada, quepodíaaplicarse tanto al para aludiralesquemadelarodilla mino, fórmula delaimagen oicónica, mente, usodeeste Diltheytér hacía Dilthey (SETTIS, 1997/2004: 24). Justa arqueología clásicade1874porKarl Bildformel concepto de momentáneas delalma, relacionó el y «pathos» comoaquellasafecciones individuo ensuselementos estables, diendo «ethos» comoelcarácter del «pathos» enlacultura antigua, enten Por suparteSalvatore Settis ensu ben elparoxismo.» (2015: 174) gico delmito delqueellasdescri das para expresar elpathos trá cómo selasencontraba apropia vida delasfórmulas era vigorosa y demuestra hasta quépunto la vasos griegos ylos sarcófagos uso continuodeesetipoenlos elaborado porelarteclásico. El gestos delasménades, esuntipo jeres furiosas, nomenosquelos para parar los golpes delasmu que envanolevanta susbrazos «La figura delcantor indefenso, empleado enunestudio de Pathosformel Pathosformel Lectures Bildformel Bildformel con el de conelde warbur de 1947 de1947 es es - , ------miento italianoyseptentrional. probada porAby Warburg enelRenaci intensa vitalidadfue claramente com emergió este repertorio formulario cuya profundos delanaturaleza humana thos (2004: 32). Desdelos estratos más y revitalizar elíntimo núcleo delpa antiguo ylaposibilidaddereconocer el fenómeno delasupervivencia delo Charles Darwin, explica según Settis del lenguaje gestual, según advirtió pasiones. Lainicialnecesidadbiológica mas para expresar elmovimiento ylas la acuñacióndeunrepertorio defor clara concienciaenlacultura griegade Anima defuentesA partir distintas comoel como elímpetu delpathos (2004: 27) contiene tanto larigidez delafórmula cambio, esunapalabra «explosiva» que un término neutro, humanos caídos, quecon elbrazo dere tuado aladerecha delrevoltijo deseres suelve enelpersonaje deespaldas si fotógrafo enmarcó laimagen, quesere feo fórmula delpathos de que resuelve laimagen según lamisma suscita ahora esta fotografía se debe a de todo elmundo conoció enlos mediosdecomunicación sionalmente, dadoelgran impacto que timonio delfotógrafo, lo invistió profe misma serie, laquesegún elpropio tes me interesa otra delasfotografías dela de 2017(DIDI-HUBERMAN, 2017). Aquí Nacional d’Art deCatalunya enfebrero Insurreccions del catálogo yelcarteldelaexposición escogióunaparaberman laportada De entre todas ellas, Georges Didi-Hu vía enlallamadaépocadetransición. liciales contra los manifestantes, toda recogían puntualmente lascargas po de fotografías enblancoynegro que 1976, ManelArmengolrealizó unaserie En Barcelona, el1defebrero de 2. de Dürer de Aristóteles, Settis deduceuna

(Fig. 7). Destacaré cómoel , inaugurada enel Museu DOI: 10.31009/cc.2019.v7.i12.01 8 . Elinterés quenos Pathosformel La muertedeOr , en , en - - 7 De De - - . ------146

Vol. VII Article comparative cinema No. 12 VICTORIA CIRLOT 2019 Las fórmulas del pathos y su supervivencia https://orcid.org/0000-0002-0203-4576 (o lasvíctimas) nadapuedenhacer. Se una violencia, contra laquevíctima energética: eldesencadenamiento de y quenosmuestran unamismacarga están recorridas porunmismoritmo pueden ocultarqueambasimágenes demia…). Pero todas estas variantes no que tambiéninterviene unletrero (Aca la policía, los queocupanelfondo, enel da porlos botes dehumolanzadospor neblina,vernales yunacierta produci en lafotografía sondiversos árboles in mujer sinoera asuesposaEurídice), der erstpuseran, a lahomosexualidad delcantor ( mico cartelqueparece hacerreferencia en lacomposicióndeDürer conelpolé al claro quemarca ejevertical elárbol del grupo depersonajes caídos. Frente detrásArmengol vemos aotro policía de espaldas, enlafotografía deManel una inversión simétrica delaménade dibujo deDürer, yquefunciona como a laménadequevemos decara enel pite elgesto protector delbrazo. Frente ción triangular delcantor ytambiénre en elsuelo, aunque reitera lacomposi sustituye aOrfeo consurodilla hincada golpe con laporra. Elrevoltijo humano cho alzado está dispuesto aasestar el sus pechos enloquecidos con pieles las mujeres delos cícones, cubiertos este que canto a los árboles […] heaquí te deOrfeo: donde Ovidiointroduce latrágica muer Es enelLibro XI delas cuestión sinolafijaciónde fórmula. ahora quiero destacar, queno esotra el relato ovidiano, almenospara lo que Angelo Poliziano. Pero será suficiente la J.C. encasodequeexistieran, ocon versiones griegasdelsiglo V antes de apasionante podercompararlo con solo altexto deOvidio, aunque sería siste exactamente lafórmula. Recurriré al texto para comprender enquécon extrema. Esinteresante recurrir ahora en quenosconfronta ante unaviolencia trata deuna Fábula deOrfeo «Mientras eltracio Orfeo guiaba con Pathosformel pues juró noamara de 1480 escrita por de1480escritapor Metamorfosis en la medida enlamedida Orfeus

------te alclamordelos alaridos báquicos. fren puede hacerelsonidodelacítara jecen conlasangre delpoeta, yya nada agresivos ydemuerte: laspiedras enro completa liberación delos instintos Erinia». Nospreparamos puespara la hubo freno alguno, yreinó lafuribunda rios ataques fueron enaumento, yya no como diceelpoeta: «Pero los temera seguido porotro enlaproximidad, o como proyectil usóunapiedra». de ellas[…]arrojó unalanza[…] laotra de animales, vieron alpoeta […]yuna fotógrafo seleccionó exactamente una preguntarnos ahora cómo yporquéel de lasfórmulas delpathos. Podemos acertada, al menos según la tradición momento. Laelección fue, sinduda, de accionesygestos múltiples unsolo modo, elfotógrafo extrajo de unsuceso por unaagresión violenta. Delmismo el sentimiento deterror provocado concentrada toda laidea, omejor, todo esquema iconográfico tienequeestar sariamente «depathos» porque enel mento privilegiado eslafórmula, nece en intensidad. Laelección deesemo como undespliegue quevacreciendo dor delo quetextualmente seofrece mento quedealgún modosearevela el pintor hatenido queelegir unmo Este primerataque adistancia es En elpasodeltexto alaimagen, de los árboles; otras le tiraban tierra; otras, ramas arrancadas […] Unasarrojaban terrones de verdes tirsos cubiertosdehojas […] yatacaron alvate arrojándole Orfeo sus manosensangrentadas su voz.» (OVIDIO,su voz.» 2012: 400-402) mente ynoconmovía anadiecon y, porvez primera, cantabainútil muerte mientras tendía lasmanos al poeta, y, sacrílegas, le dieron dones] ycorrieron para ultimar las tomaron [lasrastras, los aza su locura […]lasfieras mujeres pedruscos. Y nofaltaron a armas «Y luego éstas dirigieron contra DOI: 10.31009/cc.2019.v7.i12.01 ------147

Vol. VII Article comparative cinema No. 12 VICTORIA CIRLOT 2019 Las fórmulas del pathos y su supervivencia https://orcid.org/0000-0002-0203-4576 Pero esonosignificaquelas fórmulas humanos excesivos ydescontrolados. tos fijaron para expresar sentimientos de los antiguos lasfórmulas queés primer Quattrocento italianocopiaron fehacientemente quelosdel artistas grabado florentino. Warburg demostró resquemor decopiardirectamente el te deOrfeo yDürer notuvo elmenor la iconografía antigua delamuer sinduda el grabador anónimoconocía e imitacionesdemodelos existentes: estudia las cia de1905pronunciada ante filólogos, su dibujo. Aby Warburg, ensuconferen Mantegna enqueseinspiró Dürer para como elgrabado de anónimodelcírculo antiguas delamuerteOrfeo, así lasrepresentaciones que desconocía arqueología, ManelArmengolasegura A pesardesusestudios einterés por la pasado para comprender elpresente. imagen superviviente, quevuelve del cidad detodo. Sinembargo, ahíestá la confusión, elmiedo, larapidez yfuga festantes. Endicha situaciónimpera la de cargas policiales contra los mani bujo deDürer. Imaginemoslasituación inmejorablemente mostrada eneldi escena coincidente condicha tradición, tereotipos culturalmente conocidos. del pathos seannecesariamente es Pathosformel 10-12 demarzo de2018. la discusiónsobre los materiales delas organizado porlarevista Balló enelCentre Cultural laMercè, Girona. Agradezco al SeminarioMnemosyne, en elciclo deconferencias «Iconografia. coordinado Imatges ambsentit» por Jordi 1/ Elorigen deeste fue artículo unaconferencia pronunciada el22defebrero de2018 126) Lacursiva esmía. zurückgehend, inKünstlerkreisen eingebürgert hatte…» (WARBURG, 1906/1979b: archäologisch getreue Orpheus «Auch5/ andere, ganzverschiedenartige Kunstwerke mitBildern vom Tode des Véase4/ larelación Nietzsche-Warburg enDIDI-HUBERMAN, 2002: 142-190. 674-675). ideale anticheggiante nellapittura delprimoRinascimento Conesaconfrontación concluye Aby3/ Warburg suestudio indagar elsentidodelas presión contenidos eneste volumen, pero constituyen otro material interesante para Nohepodidointroducir eneste2/ los artículo apuntes deAby Warburg sobre laex […] zeigen fast völlig übereinstimmend, wielebenskräftig sich dieselbe como copias comocopias Pathosformel Pathosformel Engramma ------(www.engramm.it) dePisa, y laEscuelaNormal , auf eineOrpheus-oderPentheusdarstellung unas víctimas colocadas enellugardel comounaménadefuriosa contra licía de ManelArmengol, quecaptó alpo bién puedeapreciarse enlafotografía la Alemania desuépoca), comotam el tratamiento delahomosexualidad en problemas desumundo(enparticular, quever conlos de quesudibujotenía babilidad, ya lo hizo Dürer, enelsentido de pathos asumanera: contoda pro tales imágenes residuales ofórmulas Naturalmente cadaépocareactualiza colectiva ( reemergentes, grabadas enlamemoria residuales ( primitivas ( quetipos procedentes deexperiencias Warburg admitíalaexistencia dear esquemas yapuntes todavía inéditos, burg sinofundamentándose ensus solo de lasobras publicadas deWar su estudio sobre eltema, no apartir Como resume Claudia Wedepohl en recuerda, ysupúblicotambién. crear fórmulas expresivas queelartista por comprender dicha naturaleza, por bién esadmirable elesfuerzo humano en ciertomodo, inalterada. Comotam que através delos siglos permanece, la íntimanaturaleza delserhumano tar asombroso entrar encontacto con divino cantor. Nodejanuncaderesul . Pathosformel mneme Ur-Erfahrungen Nachbilder en el que participé enCortona, enelqueparticipé DOI: 10.31009/cc.2019.v7.i12.01 (WARBURG, 1914/2004d: ) (WEDEPOHL, 2014). L’ingresso dellostile ) regularmente ), imágenes ------148

Vol. VII Article comparative cinema No. 12 VICTORIA CIRLOT 2019 Las fórmulas del pathos y su supervivencia https://orcid.org/0000-0002-0203-4576 ria Loperena (2013), y Viejo tango encarnaval Catalana, Resistència Cultural iRedreçament, 1939-1990 Colomines (2003); Ballester yManelRisques(2001); viú, ElPunt-Avui Match, Le Nouvel Observateur, Newsweek, L’Expréss, La Vanguardia, ElPaís, Inter 8/ Lafotografía fue publicadaen (WEDEPOHL, 2014). 7/ Ver correspondencia entre Warburg yDilthey deClaudia enelartículo Wedepohl publicaron resúmenes enitalianoyalemán (WARBURG, 1914/2004d: 583). Ghelardi indicaquehay unatraducción6/ inglesa aunque sinlos apéndices, yquese Barcelona: Planeta Historia ySociedad. París: Klincksieck. Topo. der Werkstatt Ghirlandaios Domenico europea: Aby Warburg, CarlGustav Jung yRichard Semon. Resistència Cultural iRedreçament, 1939-1990 Edicions 62. Referencias bibliográficas des organischen Geschehens Fragmente zurAusdruckskunde. de EmilioRollié. BuenosAires: Losada. concetto diPathosformel. Aisthesis Barcelona: Angle Editorial. Granada: Comares. DJERMANOVIC, Tamara(eds.), SETTIS, Salvatore SEMON, Richard (1905). PFISTERER, Ulrich; HÖNES, HansChristian (eds.) (2015). OVIDIO, Publio (2012). MURANO,(2016). Jessica LOPERENA, Josep Maria(2013). JÁUREGUI, Fernando; VEGA, Pedro (2007). GOMBRICH, Ernst(2015). ESPUNY, Leopoldo (2013). EGGER, (1905-1906). Hermann DIDI-HUBERMAN, Georges COCA,(2016). Jordi COLOMINES,(2003). Joan CIRLOT, Victoria(2014). CASTELLET, Josep Mariaet al. (1998) BALLESTER, David; RISQUES, Manel(2001). en: Warburghaus Catalunya. selon Aby Warburg, (1997). (2017). (2002). , delibros ytambiénenportadas como: Dies meravellosos, Pathos und Ethos. Morfologie und Funktion. Vorträge aus dem Insurreccions L’image survivante. Histoiredel’art ettempsdesfantômes, vol. VI (pp. 23-34). Pisa: Istituti editoriali epoligrafici Moderna: semestrale di teori ecriticadellaletteratura , vol. I (pp. 31-73). Berlín: Akademie Verlag. Republicado Crónica delantifranquismo , deLeopoldo Espuny (2013); (2004). Dies meravellosos. París: Les Éditions duMinuit. Las metamorfosis. Memoria, supervivencia eidentidadenlacultura «Pathos»und «Ethos», morfología efunzione. Die Mnemealserhaltendes PrinzipimWechsel Fisiologia delgesto. Fonti warburghiane del . Leipzig: WilhelmEngelmann. Aby Warburg, unebiographie intellectuelle. Crònica del’antifranquisme aCatalunya. Spiegel, The WashingtonPost, New York Times, Paris . Barcelona: MuseuNacional d’Art de Crònica del’antifranquisme aCatalunya Viejo tango encarnaval. La construcciónestéticadeEuropa Berlín: DeGruyter. de Jordi Coca(2016); Codex escurialensis. EinSkizzenbuch aus , vol 9, pp. 153-175. El abusodelpoder. . 2tomos. Viena: Alfred Hölder. Història delaCultura Catalana, Barcelona: Edicions 62. , deFernando Jáuregui yPedro Vega Introducción, traducción ynotas Crónica delantifranquismo. El abusodelpoder , Vol. X. Barcelona: Ed. 62. Temps d’amnistia. Temps d’amnistia , Vol. X (Castellet et al., 1998); DOI: 10.31009/cc.2019.v7.i12.01 Història delaCultura Barcelona:El Viejo Barcelona: Octaedro. CIRLOT, Victoria; Aby Warburg– , de Josep Ma Barcelona: (pp. 25-38). , deDavid ,de Joan ,

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Vol. VII Article comparative cinema No. 12 VICTORIA CIRLOT 2019 Las fórmulas del pathos y su supervivencia https://orcid.org/0000-0002-0203-4576 enero de2019] de: cultura basata suunateoríadell’espressione. Engramma dei gesti. LamortediOrfeo diDürere il lavoro diWarburgsullastoriadella 10.31009/cc.2019.v7.i12.01 supervivencia. Cómo citar WEDEPOHL, Claudia (2014). WARBURG, Aby http://www.engramma.it/eOS/index.php?id_articolo=1619 Frührenaissance. en: Biblioteca Universitaria delaUniversidad deHeidelberg. Republicado Schulmänner inHamburgvom 3. bis6. Oktober1905 achtundvierzigsten Versammlung deutscher Philologen und Frührenaissance Untersuchung überdie Vorstellungen von derAntike inderitalienischen Berlín:Akademie Verlag. (1893) (2012). (1914). (1906). (1888).

CIRLOT, Victoria(2019). Dürer und dieitalienische Antike. Verhandlungen der Die Typen derBrancacci-Capelle. Der Eintrittdesantikisierenden IdealstilsindieMalereider Sandro Botticellis «Geburt der Venus» «Geburt Sandro Botticellis und «Frühling». Eine Der Bilderatlas Mnemosyne. E (1889-1914) Opere, I. LaRinascita delpaganesimoanticoealtriscritti nel primoRinascimentoitaliano. Botticelli. Un’indagine sullerappresentazioni dell’Antico Valentin Koerner. Würdigungen Saecula spiritalia 1 WUTTKE, Dieter (ed.), von derAntike inderitalienischen Frührenaissance. «Frühling». EineUntersuchung überdie Vorstellungen altri scritti(1889-1914) Maurizio (ed.), internazionale. scritti (1889-1914) (ed.), nella pittura delprimoRinascimento. scritti (1889-1914) (ed.), Baden: ValentinKoerner. Würdigungen Saecula spiritalia 1 WUTTKE, Dieter (ed.) Comparative Cinema Comparative (2004b). (1979a). (2004d). (2004c). (1979b). (2004a) Opere, I. LaRinascita delpaganesimoanticoealtri Opere, I. LaRinascita delpaganesimoanticoealtri , Hamburgo-Leipzig: L. Voss. Republicado en: Publicado en: I tipidelacappella Brancacci. L’ingresso dellostileidealeanticcheggiante (pp. 77-161). Turín: NinoAragno. Sandro Botticellis «Geburt der Venus» «Geburt Sandro Botticellis und Dürer und dieitalienische Antike. Dürer el’Antichità italiana. La nascita di Venere eLaPrimavera diSandro Opere, I. LaRinascita delpaganesimoanticoe Dalla Pathosformel all’Atlante dellinguaggio (pp. 403-424). Turín: NinoAragno. (pp. 583-684). Turín: NinoAragno. , Ausgewählte Schriften und , Vol. VII, No. 12, pp. 139-149. DOI: Las fórmulas del pathos y su su y pathos del fórmulas Las Ausgewählte Schriften und (pp. 17-48). Turín: NinoAragno. dición de Martin Warnke.dición deMartin GHELARDI, Maurizio (ed.), Publicado en: (pp. 125-135). Baden- (pp. 11-64). Baden-Baden: DOI: 10.31009/cc.2019.v7.i12.01 GHELARDI, Maurizio GHELARDI, Maurizio , 119. Recuperado (pp. 55-60). Leipzig: GHELARDI,

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Vol. VII comparative cinema Luis Vives-Ferrándiz No. 12 2019 Sánchez

Pathos en Cataluña: las 150-161 políticas de las imágenes en la era de los memes El presente artículo se centra en el estudio de dos imágenes contextualizadas dentro del proceso de independencia de Cataluña con el fin de analizar el papel de la tradición visual en los escenarios políticos contemporáneos. La presencia de emociones y pathos en algunas imágenes icónicas relacionadas con el referéndum del 1 de octubre actualiza el legado intelectual de Aby Warburg y su noción de Pathosformel aplicada al estudio de la cultura visual contemporánea y a los memes de internet.

Palabras Clave PATHOS REFERÉNDUM EMOCIONES ABY WARBURG CATALUÑA MEME

Fecha de recepción: 01/05/2018 Fecha de aceptación: 10/10/2018

Luis Vives-Ferrándiz Sánchez Doctor en Historia del Arte por la Universitat de València, donde actualmente desarrolla su labor docente e investigadora. Sus principales líneas de investigación se centran en el estudio del tema de la vanitas en la esfera de la cultura barroca, así como sus extensiones al campo de la cultura visual contemporánea bajo la perspectiva del neobarroco. También ha realizado estudios sobre las reflexiones teóricas de la imagen y la cultura visual en la posmodernidad y el modo en que afectan a la práctica de la Historia del Arte. Sus últimas investigaciones han desarrollado el uso de la imagen fotográfica como elemento ideológico e identitario, el estudio de los nuevos regímenes escópicos y la iconoclasia contemporánea.

https://orcid.org/0000-0002-3885-5499 DOI: 10.31009/cc.2019.v7.i12.02 151

Vol. VII Artículo comparative cinema No. 12 LUIS VIVES-FERRÁNDIZ SÁNCHEZ 2019 Pathos en Cataluña: las políticas de las imágenes en la era de https://orcid.org/0000-0002-3885-5499 los memes tos másimportantesdel de Cataluña las históricas aspiraciones nacionales ción deunestado propio quecolmase marco delestado españolalareclama reivindicaciones deautogobierno enel autodeterminación puessepasódelas supuso laaceleración delproceso de inconstitucionales. Esta sentencia delmismocomo una seriedeartículos Constitucional declaró enelaño2010 del año2006. Sinembargo, el Tribunal presados enelEstatuto deAutonomía parte deCataluña quequedaron ex los deseos demayor autogobierno por nes másinmediatos se encuentran en de laautodeterminación. Susoríge encaminadaalaconsecución política do como yente enCataluña, abreviado yconoci SO, 2017). (SÁNCHEZ-CUENCA, 2018; CANO BUE cación delalegalidad constituyente de lascotas deautogobierno ylaapli en elestado español, elmantenimiento defienden deCataluña lapermanencia unionistas oconstitucionalistas que frente alquesesitúanlos sectores VILLALTA, UCELAY-DA CAL, 2017: 3-6) nal deCataluña (FORTI, GONZÁLEZ I independencia enlatransición nacio consultas yreferéndums afavor dela nista querespalda los distintos actos, de ungrupo independentista osobera En este contexto, los analistas hablan declarado ilegal porelestado español. calientes delacrisiscatalana alser y quehasidounodelos puntos más dar elcaminohacialaindependencia octubre de2017quepretendía refren celebración deunreferéndum el1de El denominadoproceso constitu 1 deoctubre de2017 Don’t want to fight, don’t want to die Lift me upandtake me outof here procés 1 . Unodelos acontecimien Just want to hearyou cry. Arcade Fire, , serefiere alaacción I cantaste thefear procés Intervention fue la ------Alvarado, delaagencia Reuters ypu una fotografía delfotorreportero Iván cas del rrollada entorno alasimágenes políti complejidad delacultura visualdesa poráneo yentender laprofundidad y contem fórmulas enunsucesopolítico pretende actualizar elsentidodeestas Aby Warburg. Elartículo, porlo tanto, que fueron definidas yestudiadas por que actualizan lasfórmulas depathos gestualidad yrepresentan unaemoción dum del1deoctubre quemuestran una das demanera directa conelreferén culo es estudiar dosimágenes vincula mismo. Elpropósito delpresente artí que conforman lacultura visualdel propagandísticas ocontranarrativas alternativas, periodísticas oamateurs, acompañados deimágenes oficialeso mismas es fundamental para latrans y control (incluso lacensura) delas (MITCHELL, 2013)enlaquedifusión llan comounaguerra deimágenes contemporáneos seviven ydesarro to dememoria. fórmulas delconcep depathos apartir la gestualidad ylaproblemática delas la relación entre los memesdeinternet, las mismas. tambiénestudia Elartículo delagestualidada partir contenida en intención degenerar nuevos sentidos memes quecircularon porlared conla fueron reformuladas yreconvertidas en referéndum. Estas imágenes, además, la hora deimpedirlacelebración del nacionala los excesos delapolicía distintas plataformas para denunciar nia y, porotro lado, elvídeo luña tras los resultados delavotación proclamación delarepública deCata reacciones delos asistentes alabreve blicada enlaprensa, quemuestra las do, yconforman, el versos episodiosque hanconforma difundido porÒmniumCultural en Tanto elreferéndum comolos di Muchos de los conflictos políticos Muchos delos conflictos políticos Iconomaquia 2.0 procés . Setrata, porunlado, de DOI: 10.31009/cc.2019.v7.i12.02 procés Help Catalo hanestado ------152

Vol. VII Artículo comparative cinema No. 12 LUIS VIVES-FERRÁNDIZ SÁNCHEZ 2019 Pathos en Cataluña: las políticas de las imágenes en la era de https://orcid.org/0000-0002-3885-5499 los memes disponer aFederico Borrell frente auna electoraljornada del1deoctubre al el excesoenla defuerza delapolicía la grafía deGerda Taro yRobertCapade Telegraph el caricaturista Blower, deldiario gonistas delaimagen Puigdemont sonlos combativos prota Civil inspirada en bélica real ypublicóunacaricatura procés dian el caricaturista delperiódico ña eldíadelreferéndum. Por ejemplo, para contarlo queaconteció enCatalu desde los mediosdecomunicación un recurso delquesehaechado mano e icónicasimágenes deguerra hansido cés cualquier conflicto. Enelcasodel de confrontar lasvisionespolíticas tradiciones visuales para expresar y la historia delarteo desde distintas imágenes quesonconvocadas desde el heterogéneo yampliorepertorio de es puramente metafórica ydescribe La expresión «guerra deimágenes» misión deideas, valores yconceptos. icónicos yfácilmente reconocibles y dibujantes porque setrata deejemplos de Españaysonconvocados porlos la historia visual, cultural eidentitaria votar paraun ciudadanoquealzaunaurna conporra armado y nos porunpolicía del 1deoctubre cambiandolos villa la violencia vividaeldíadelreferéndum sirvió de Ferran Martín, de Goya tambiénsirviódeinspiración para bandera independentista catalana de devorar una aunamujerqueporta nacionaldegran tamañoquetrata cía pero sustituyendo aldiosporunpoli devorando asushijos Rowe, optó poradaptar el del patrulla antidisturbios Muertedeunmiliciano Estos ejemplos están asentadosen , hay querecalcar quedeterminadas Financial Review de Salvador Dalí enlaqueRajoy y deSalvadorDalí , Rowson, Martin entendió queel 5 . podría derivar en una contienda podríaderivarenunacontienda Duelo agarrotazos , sesirviódelafamosa foto Premonición delaGuerra El Jueves deAustralia, David deGoya (Fig. 1) 2 . Por otra parte, 3 . Eldibujante para ilustrar Saturno Saturno , quese para contar The Guar The The pro 4 . ------ción delpotencial epistemológico que ante unsucesocontemporáneo enfun de unventrílocuo para hacerlashablar sonconvocadas comolos muñecos Dalí 2016). Así, lasobras deGoya, Capao locutoras denuestros problemas (BAL, genes del pasadoactúan comointer relación entre ambostiempos. Lasimá de historia quebusca construir una dar sentidoalpresente enunejercicio dos, además, elpasadoseemplea para 87-106). Enestos ejemplos menciona lógica icónica propia (BOEHM, 2011: madores desentidoenfunción deuna capacidad para seragentes confor papel epistemológico asentadoensu les, periodísticas…), desempeñanun tipo quesean(artísticas, documenta visual delaposmodernidad, seandel dencia quelasimágenes, delgiro araíz contemporáneo. Sureutilización evi que seadaptan para contarunsuceso porque actúan comomarcos retóricos que estremendamente heterogéneo al catalana. Este conjunto deimágenes, queestán enjuego enlacrisis líticas y transmitir lasdistintas visionespo fundamental puessirve para expresar tanto, un(metafórico) campodebatalla en circulación. Laweb 2.0 es, porlo distribuir aquellos quesehanpuesto difundirlas enforma dememesobien nuncia relacionadas conel imágenes cómicas, satíricas ode la web 2.0, los usuariospuedencrear hacerse virales (MARTÍN, 2012). Con que sedifunden ypopularizanhasta la capacidaddegenerar contenidos usuarios deestas plataformas tienen característica delaweb 2.0 esquelos definen lallamada web 2.0. Laprincipal YouTube plataformas como que secrean, compartenydifunden en terogéneo conglomerado deimágenes oficial compartenespacioconelhe dios decomunicaciónolapropaganda el queimágenes delaprensa, los me en unescenariomediático complejo en poseen lasimágenes. Asimismo, el , Instagram procés DOI: 10.31009/cc.2019.v7.i12.02 Facebook o WhatsApp sedesarrolla procés , Twitter y que yque y ------, - - - - - 153

Vol. VII Artículo comparative cinema No. 12 LUIS VIVES-FERRÁNDIZ SÁNCHEZ 2019 Pathos en Cataluña: las políticas de las imágenes en la era de https://orcid.org/0000-0002-3885-5499 los memes expectantes porver silos resultados concentrado miles deciudadanos del Parlament, enlacalle se habían efectuaba entre lasparedes delPalau tiempo queesta breve declaración se nueva república catalana que condujesealreconocimiento dela citar undiálogo conelestado español unilateral deindependenciapara soli de dejarensuspensoladeclaración pues elmismopresidente seencargó tuvo una existencia de56segundos el referéndum del1deoctubre, apenas unilateral. Elnuevo estado, surgido tras de larepública deCataluña demanera pleno del parlamento laindependencia Carles Puigdemont proclamaba enel dente delaGeneralitat deCataluña y pathos enelreferéndum 2011). incardinadas enel zar ocuestionar identidadespolíticas mediática ysirve para articular, refor existencia, conforma lallamadacultura estudiar debidoasuamplitudybreve mismo tiempoquedifícildecontrolar y Ambas fotografías sedifundieron enlas penso enque quedabaladeclaración. otra recoge ladecepción porelsus ción delarepública mientras quela de los congregados ante laproclama táneas semuestra lareacción dejúbilo gigantes parlamento pormediodepantallas eldesarrolloque seguían delpleno del independentistas reunidos enlacalle el cambioenestado deánimolos modo deundíptico (Fig. 2), quereflejan fías, difundidas unaalladodelaotra a En realidad, setrata dedosfotogra CompanysPaseo deBarcelona. Lluís fotógrafo delaagencia Reuters, enel teriores fue tomada porIvánAlvarado, difusión tuvo enlashoras ydíaspos de lasimágenes quemásrepercusión y proclamación deunnuevo estado. Una del referéndum desembocabanenla El 10deoctubre de2017, elpresi El díptico delaspasiones: ménades 7 . En la primera de las instan procés 6 (KELLNER, . Al mismo ------gracias alaemociónpatética contenida anudada enlahistoria delasimágenes este díptico delaspasionesquedaba en suspenso. Lafigura femenina de pathos alescuchar queésta quedaba mación y, porotro, conunamuecade levantados enelmomento delaprocla república: porunlado, conlos brazos dos emocionesante elanunciodela saba ycondensabaensurostro las una mujerconcamisablancaexpre occidental. de largo recorrido enlatradición visual también aludíaaunafórmula expresiva tualidad contenida enlasfotografías blica deCataluña. Noobstante, lages 56 segundos deexistencia delarepú emociones tandispares vividasenlos tubre de2017ya quecondensaban las o visual sino que hacía referencia visual sino quehacía a un simple reutilización deunafórmula de laAntigüedad norespondía auna rioso. Para Warburg, esta supervivencia podía reconvertirse enunDavid victo la escultura deunNióbidaamenazado podía pasarporunaMaría Magdalena o XV, dondeunaménadedelaAntigüedad res, sobre todo enlaFlorencia delsiglo reinterpretadas enmomentos posterio mulas depathos fueron reutilizadas o ves conménadesenéxtasis. Esasfór estatuas comoelLaocoonte oenrelie en lacultura clásica, principalmente en los recursos gestuales, seencontraban patéticas odesufrimiento apartir visuales deexpresión deemociones de pathos, entendidas comofórmulas BERMAN, 2013: 172-201). Lasfórmulas (GOMBRICH, 1992: 168-175; DIDI-HU la memoriasocialdelasimágenes ron hasta susúltimosproyectos sobre relieves delPartenón yle preocupa sus primeras investigaciones sobre los por lasllamadas dor delarteAby Warburg seinteresó antigua fórmula depathos. Elhistoria figura deunaménadey reanimaba una en surostro ya que, conella, evocaba la portadas deperiódicoscomo portadas ABC En elcentro delasdosimágenes, ensusedicionesdel11deoc DOI: 10.31009/cc.2019.v7.i12.02 Pathosformel El Mundo El Mundo desde desde ------154

Vol. VII Artículo comparative cinema No. 12 LUIS VIVES-FERRÁNDIZ SÁNCHEZ 2019 Pathos en Cataluña: las políticas de las imágenes en la era de https://orcid.org/0000-0002-3885-5499 los memes cas queestán ancladas, además, en incorpora gestos yfórmulas patéti del fía deAlvarado introduce enelcontexto conservada enlamemoria. Lafotogra un acto demasasconunagestualidad estremecimiento exterior máximoen de nuestro díptico pasionalexpresa el fotografía deAlvarado pueslaménade te actualidad siseconfrontan conla de pathos resuenan consorprenden Warburg que a lamemoriaygestualidad. Decía proceso máscomplejo queafectaba jos florentinos de los siglos XV y XVI, de lacruz enpinturas, relieves ydibu para figurar aMaría Magdalena al pie en lasménadesclásicas quesirvieron del rostro, eslaquesepuedeencontrar gestualidad, conel añadidoexpresivo (DIDI-HUBERMAN, 2007). Lamisma mula enlaquebrazos yojos seelevan actitudes pasionales haciaunafór gesto antiguo (Fig. 3)quetraduce las rica Las fotografías deCharcot dela místicas (STOICHITA, 1996: 151-181). la sonrisabeatífica ylasvisionarias 1996: 355), elalmabienaventurada con iconográficos delaesperanza (RIPA, ción (BARASCH, 1999: 65-66)olos tipos remite alasviejasfórmulas delaora levantados ylamirada haciaelcielo El motivo delamujerconlos brazos una cultura visualreligiosa ybélica. Las ideasdeWarburg ylasfórmulas procés Augustine tambiénexploran este memoria lasformas deexpresar el ter acuñadoqueintroduce enla masas hay quebuscarelcarác 2010: 3). del lenguaje gestual» (WARBURG, terminan […]los valores máximos conservado enlamemoriayde nal sobreviven comopatrimonio engramas deexperiencia pasio gestos, contalfuerza quetales de expresarse enunlenguaje de en lamedidaqueéste pue estremecimiento interior máximo, «en laregión orgiástica de unafórmula depathos que histé ------8 - -

- - - queda entreabierta. Eneste caso, esun Laocoonte, lacabeza seladeaylaboca típica fórmula depathos: comoenel ella yelrostro expresa eldolor conuna peromantienen abiertas giradas hacia ligeramente,han caído lasmanosse cha. Los brazos delaménadecatalana nera intensa enlafotografía deladere izquierda, elpathos semuestra dema motivo, figurado enla fotografía dela nificado haciaellamento. Junto aeste nor Vázquez Ubach, queorientanelsig Mujer enuncampodebatalla Picasso quereproduce este gesto ola bens (Fig. 4), lafigura del de como laalegoría deEuropa delcuadro con brazos enalto encontextos bélicos aunque sepodríanañadirotras mujeres queda evidenciada conestos ejemplos polaridad yversatilidad delafórmula desencajado (WIND, 1937: 70-71). La con los brazos levantados yelrostro BERMAN, 2013: 181). Esaparticula (CABELLO, 2017: 151-154; DIDI-HU cada reutilización dedicha gestualidad mula iconográfica quesearrastra con imbricación entre carga emotiva yfór la forma delcontenido pueshay una las son convocadas para evidenciar queen grafía deAlvarado. Estas referencias forma casualoespontánea, enlafoto entre estos gestos queaparecen, de iconográfica o legibilidad semiótica visual quedemuestren unacontinuidad nealogía deimágenes niundiccionario mencionar nopretenden serunage pasiones (Fig. 5). delas en tablasamododepolípticos rostros desuspacientes yquepresentó con estimulaciones eléctricas enlos chenne deBoulogne trató dereproducir gestuales queelmédicoGuillaume Du la depathos pormediodeunoscódigos y bocaentreabiertaexpresan lafórmu cuyos rostros ladeados, mirada perdida nuevo estado, comoeldelos Nióbidas, la suspensióndeproclamación del gesto deabatimiento ydederrota por Los desastresdelaguerra Estas referencias queseacabande Pathosformel DOI: 10.31009/cc.2019.v7.i12.02 es imposible separar Guernica de Ru de Nica - de de ------155

Vol. VII Artículo comparative cinema No. 12 LUIS VIVES-FERRÁNDIZ SÁNCHEZ 2019 Pathos en Cataluña: las políticas de las imágenes en la era de https://orcid.org/0000-0002-3885-5499 los memes 2017: 62). LLO, 2017: 146-147; DIDI-HUBERMAN, nes mediatizas porimágenes (CABE los avatares temporales delasemocio una pregunta antropológica acerca de fico quesepuedadescifrar), plantean la semiótica (comosifuese unjeroglí obras aotras ofundar sulegibilidad en históricamente transmitida deunas las referencias deunacultura artística Pathosformel lógicas oenmodelos deinfluencia. Las que nopuedebasarse encontinuidades que atraviesan eltiempoenundevenir es quesonfórmulas transiconográficas nadas. Lo quedefine alas apuntados enlasreferencias mencio representada arrastran los significados pues lacarga emotiva ylagestualidad to contenido eneldíptico deAlvarado 124). Ahíradicadelges laimportancia nueva imagen (BIALOSTOCKI, 1973: 111- ley delagravedad iconográfica, haciala original searrastren, porunasuertede implica queelementos delsignificado tilización deunafórmula compositiva de encuadre, queapuntaalareu Bialostocki consuconcepto detema ridad tambiénfue por advertida Jan esperanza yalegría porlaproclamación la fotografía delaizquierda aludenala un levantamiento. Los brazos enalto de queexpresan lasemocionesde político se trata deimágenes deunmovimiento encierra ambasposibilidadesya que 2017: 151-154). Eldíptico deAlvarado das alsufrimiento (DIDI-HUBERMAN, cias porlasfórmulas depathos asocia insurrecciones frente asuspreferen fórmulas gestuales asociadasconlas constatado queWarburg desatendió las yha nen los levantamientos políticos las gestuales queacompañanydefi haanalizadolasfórmuDidi-Huberman otro, ladecepciónporsuspensión. proclamación delarepública y, por timiento: porunlado, laalegría porla corporal, dellevantamiento ydelaba que contieneladialéctica, y psíquica cularidad demostrar una El díptico deAlvarado tienelaparti , antes quesometerse a Pathosformel Pathosformel ------

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Vol. VII Artículo comparative cinema No. 12 LUIS VIVES-FERRÁNDIZ SÁNCHEZ 2019 Pathos en Cataluña: las políticas de las imágenes en la era de https://orcid.org/0000-0002-3885-5499 los memes Nacional d’Art deCatalunya. El ojodelahistoria, 6. arte ytiempodelosfantasmas según Aby Warburg. iconografía fotográfica deLaSalpêtrière. Reichenberger. conducta. 146-163. Didi-Huberman.aura ydolordereminiscenciasenGeorges Anthropos, culture and society, icons todeath: whenhistoricalphotographs becomedigital memes. Media, Salamanca: Ediciones Universidad deSalamanca. de lasimágenes. de lasartes. la mirada. Referencias bibliográficas lo/1507653719_231546.html res-reacciones-las-redes-5284/ https://vozlibre.com/actualidad/la-independencia-los-8-segundos-las-mejo mes-de-la-casi-independencia-de-catalunya/ http://www.publico.es/tremending/2017/10/11/twitter-los-mejores-me cio/video-help-catalonia?utm_term=.gqDmV2NyV#.vcawGkZLG supervivencia de lasimágenes enlaera del GIF. e-imagen Revista 2.0, Ediciones. estaba allí. Laimagen delrey enlacultura visual2.0. VIVES-FERRÁNDIZ, Luis(2014). Alianza. (2006-2017) (eds.), y 2017. ¿Qué eselprocés? Sopesar loscambiosenlapolíticacatalana entre 2006 BARASCH, Moshe(1999). BAL, Mieke (2016). KELLNER, Douglas(2011). G. DEANGELIS, Marina(2016). GONDRA, Ander; G. DEANGELIS, Marina; LÓPEZ DEMUNAIN, Gorka; GOMBRICH, Ernst (1992). FORTI, Steven; GONZÁLEZ I VILLALTA, Arnau; UCELAY-DA CAL, Enric(2017). DIDI-HUBERMAN, Georges (2017). DIDI-HUBERMAN, Georges (2017). DIDI-HUBERMAN, Georges (2013). DIDI-HUBERMAN, Georges (2007). DÍAZ MARROQUÍN, (2008). Lucía DAWKINS, Richard (1997). CANO BUESO, Juan (2017). CABELLO, Gabriel(2017). BOUDANA, Sandrine; FROSH, Paul yCOHEN, AkibaA. (2017). BOEHM, Gottfried (2011). BIALOSTOCKI,(1973). Jan El procesoseparatista enCataluña. Análisisdeunpasadoreciente FORTI, Steven; GONZÁLEZ I VILLALTA, Arnau; UCELAY-DA CAL, Enric Barcelona: Salvat. Madrid: Akal. (pp. 3-6). Granada: Editorial Comares. Barcelona: Barral. GARCÍA VARAS,A n. 39/8, pp. 1-21. Santander: Shangrila. Tiempos trastornados: análisis, historiasypolíticasde [acceso: 15deabril2018]. Entrehistoriadelarteypráctica delasimágenes: Giotto yellenguajedelgesto. Giotto Estilo eiconografía: contribuciónaunaciencia Aby Warburg. Unabiografía intelectual. ¿Más alládellenguaje? Apuntessobrelalógica , El gen egoísta. Lasbasesbiológicasde nuestra https://verne.elpais.com/verne/2017/10/10/articu Cultura mediática. Estudios culturales, Cataluña ensulaberinto. Cuando despertó, elelefante todavía Del Atlasmnemosyne aGIPHY: La na La retóricadelosafectos.

(ed.) Insurreccions. Pueblos enlágrimas, pueblosenarmas. La imagen superviviente. Historia del La invención delahisteria. Charcotyla Madrid: Cátedra. , Filosofía delaimagen Madrid: Abada. Barcelona: Museu DOI: 10.31009/cc.2019.v7.i12.02 Barcelona: Sans Soleil Valencia: Tirant. Madrid: Akal. Kassel: Reviving (pp. 87-106). - Madrid: n. 3. 247, pp. 247, pp. - - 161

Vol. VII Artículo comparative cinema No. 12 LUIS VIVES-FERRÁNDIZ SÁNCHEZ 2019 Pathos en Cataluña: las políticas de las imágenes en la era de https://orcid.org/0000-0002-3885-5499 los memes Barcelona: SansSoleil. identidad ypolíticaentrelomodernoposmoderno. observation by Reynolds. Journal of theWarburgInstitute, de laesfera digital, barroca delcapitalismo de ficción. Caracteres. Estudios culturales ycríticos poder era delapostfotografía. de oroespañol. Negra. española antelacrisiscatalana. (pp. 417-431). Cosenza: LuigiPellegrini Editori. Adriano (eds.), política all’epoca dell’internet-meme. Cultura, construcción delaimagen públicadelpolítico. Arbor. Ciencia, Pensamiento Y Celebrificación delcandidato. Cultura delafama, marketing electoral y present day. de lasredessociales. WIND, Edgar (1937). WARBURG, Aby (2010). VIVES-FERRÁNDIZ, Luis(2014). VIVES-FERRÁNDIZ, Luis(2012). STOICHITA, Victor(1996). STEYERL, Hito (2014). SÁNCHEZ-CUENCA, Ignacio(2018). RIPA, Cesare (1996). PINOTTI, Andrea (2016). OLIVA, Mercè; PÉREZ-LATORRE, Oliver; BESALÚ, Reinald (2015). MOXEY, Keith (2014). MITCHELL, W.J.T. (2013). MARTÍN PRADA, Juan (2012). Cataluña: las políticas de las imágenes en la era de los memes. memes. los de era la en v7.i12.02 imágenes Cinema las de parative políticas las Cataluña: Cómo citar (pp. 501-516). Castellón: Universitat Jaume I. 191(775), a270. Chicago: The Chicago University Press. I percorsidell’immaginazione. StudiinonorediPietroMontani Madrid: Alianza.

VIVES-FERRÁNDIZ SÁNCHEZ, Luis(2019). n. 3/1, pp. 179-200. , Vol. VII, No. 12, pp. 150-161. DOI: 10.31009/cc.2019. Madrid: Akal. The Maenadunder thecross. Commentsonan Iconología. MÍNGUEZ, Víctor(ed.), El tiempodelovisual. Laimagen enlahistoria. Los condenados delapantalla. Atlas Mnemosyne. La replicanonindiferente. Mossediiconología Cloning terror. The warof images from9/11 to El ojomístico. Visión ypintura religiosaenelsiglo Madrid: Los libros delacatarata. Prácticas artísticaseninternetlaépoca Madrid: Akal. Yes we Flickr! Imágenes delpoderenla La gran pantalla delmundo. Lalógica GUASTINI, Daniele yARDOVINO, La confusiónnacional, Lademocracia Madrid: Akal. Las artesylaarquitectura del DOI: 10.31009/cc.2019.v7.i12.02 Madrid: Akal. Buenos Aires: Caja n. 1, pp. 70-71. Pathos en en Pathos Com - Vol. VII comparative cinema Joan Miquel No. 12 2019 Gual

Ruïnes. Motiu visual de la crisi 162-175 immobiliària espanyola Les ruïnes han exemplificat històricament els imperis caiguts, també el paisatge posterior a la batalla. Progressivament, amb la urbanització del món, cada cop hi ha més ruïnes que són fruit d’una construcció a gran velocitat que va deixant rastres visibles: mirades des de perspectives aèries, s’assemblen a metàstasis o cicatrius. Aquestes ruïnes esdevenen escombraries, desfets d’una explotació intensiva del territori gestada a partir de la lògica d’acumulació de capital, no en funció dels interessos de les persones o la sostenibilitat mediambiental. Molts treballs televisius, cinematogràfics o fotogràfics han abordat el motiu visual de les ruïnes en el marc de la crisi immobiliària iniciada el 2008. Aquest escrit vol contribuir a la reflexió sobre la qüestió, prenent en consideració diferents obres de no ficció posteriors a la publicació de l’Informe Auken (2009). L’objectiu perseguit és el d’evidenciar l’abundància de representacions audiovisuals que, més enllà del testimoni, han apuntat crítiques al model de desenvolupament espanyol des de la perspectiva mediambiental i de la forta desigualtat que ha generat.

Paraules Clau RUÏNES MOTIU VISUAL CRISI IMMOBILIÀRIA DESTRUCCIÓ MEDIAMBIENTAL MILITÀNCIA CINEMA FOTOGRAFIA ESPANYA

Data de recepció: 09/04/2018 Data d’acceptació: 28/08/2018

Joan Miquel Gual Professor col·laborador a la Universitat Oberta de Catalunya. Imparteix Història del Cinema i Arts en Pantalla. Doctor en Teoria, Anàlisi i Documentació Cinematogràfica per la Universitat Pompeu Fabra i Màster en Teoria i Pràctica del Documental Creatiu a la Universitat Autònoma de Barcelona. També és activista d’habitatge. Ha participat a moviments socials com VdeVivienda i forma part de la cooperativa d’habitatge La Borda SCCL, que s’acaba de construir a Can Batlló. Actualment, investiga la imatge de la bombolla immobiliària espanyola en el cinema, la fotografia i la literatura. Està preparant un llibre sobre la qüestió.

https://orcid.org/0000-0001-6692-3287 DOI: 10.31009/cc.2019.v7.i12.04 163

Vol. VII Article comparative cinema No. 12 JOAN MIQUEL GUAL 2019 Ruïnes. https://orcid.org/0000-0001-6692-3287 Motiu visual de la crisi immobiliària espanyola que fomentaren lacompra massiva ques iinteressos delsistema financer d’un públi entrellaçat depolítiques excessiva, lacrisitingué lloc acausa gués demandapercomprar-los. 800.000 habitatges sensequehiha cament, l’any 2005, s’iniciaren mésde per Alemanya, ItàliaiFrança. Específi més habitatges quealconjuntformat a ons’edificaren, enelmàximapogeu, d’un excés deconstrucció aEspanya, ruïnes enqüestió existeixen acausa immobiliària iniciadal’any 2008. Les el paisatge espanyol després delacrisi presentació deles ruïnes emergides en principals bancs icaixes d’estalvi van ris contractats. D’aquesta manera, els van poderretornar elspréstecs banca moltes famílies quedaren al’atur ino Quan elcicle constructor es detingué, d’habitatges mitjançanthipoteques. en obras. quenoibaaquedarse Parecía convertidos ensolares; frutales descui rros ylanecesidaddeestablecer recor empleo [...] Hacecincooseisañostodo laboral. Eslacrisis. Lascifras enEspa gonar; enlaactualidad, elpaisajetiene ña superan elveinte porciento deparo el mundotrabajaba, lacomarca entera algo de campodebatalla abandonado, tierras dehierba; cubiertas naranjales ni uncentímetro deterreno sinhormi desbocada deudapública, laprimade el veintitrés oveinticuatro. Muchos de estallido delaburbujainmobiliaria, la riesgo, laquiebra delascajasaho y elañoquevienepuedensubirhasta tes sociales yllevar acabolareforma dados, muchos deellos secos; tapias Ruïnes ipaisatge. Undebat viu Més enllàd’aquesta construcció El tema d’aquesta recerca éslare o deterritorio sujeto aunarmisticio: los emigrantes viven delsubsidiode que encierran pedazos denada.» «La radio hablacadamañanadel (Rafael Chirbes, En laorilla ------) present històric, resultala pertinent ta iconografia denoficciói relativaal guerra sensemortsimmobiliària. arruïnats perlacrisi que hagenerat elmomenthistòric: els guerra sensemorts en elprimerepígraf – posteriors aunabatalla de manera metafòrica, comles r La ideadepresentar el nografia aquè l’article pararà atenció. (2013), delaico icondensabonapart anys mésdurs delacrisiespanyola vel·la Monetari Internacional). Europea, BancCentral Europeu iFons ració imposats perla Troika (Comissió rescat, seguint elsdictats derecupe fer fallida il’estat espanyol acudíalseu Julia Schulz-Dornburg iCadeslasver en elstreballs deMarkel Redondo, de lacrisiespanyola aterme portada en relació alarepresentació fotogràfica tive cepte deruïnes especulatives ( sulta apropiat tenir encompte elcon al context espanyol contemporani, re següent afirmació: El fragment introductori delano Per aproximar-nos alsentitd’aques Per vincularlaideaqueexposa Marí

ruins arruinada exige» (MARÍ, 2005: 20). trar elrealismo queesta realidad el cineydocumentalpara mos elocuente queeldelafotografía, medio deexpresión máseficazo sentará laruina, ynohabrá ningún de elrealismo conelqueserepre que aellamisma[...] Deahíproce nosotros, ynoremite aotra cosa inmediato quetenemos frente a ruina delpresente, deunpresente deestepartir momento, esuna lo quesehaperdido. Laruina, a a ninguna contemplación sobre pasado, ni remite alahistoria, ni no muestra ninguna memoriadel desde laPrimera Guerra Mundial, En laorilla «El espectáculo delaruina, ), elaborat perKathy Korcheck DOI: 10.31009/cc.2019.v7.i12.04 està escrit enundels –, alpaisatge humà o Ruïnes d’una Ruïnes d’una derrotats ala paisatge urbà , esvincularà, specula estes estes - - - - -

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Vol. VII Article comparative cinema No. 12 JOAN MIQUEL GUAL 2019 Ruïnes. https://orcid.org/0000-0001-6692-3287 Motiu visual de la crisi immobiliària espanyola ha adquirido unadimensiónquenose lo largo delahistoria, pero queahora Una fragilidad cotidiana, recurrente a la fragilidad delmundocontemporáneo. yalar unpresent inquietant: Hispano (2005: 173-183), sinód’assen des pelcinemaqueharecollit Andrés arribar, deles ruïnes somnia enlalínia un hipotètic futur distòpic queestà per tracta d’evocar, comalaciència-ficció, constructora. Ditaixò, encapcases arquitectònics provinents del’ ballardianes tió tambéseran definides coma ruïnes que ellegitima. capitalisme ilasocietat del’espectacle unacríticaal que serveix perarticular visió anti-nostàlgica enquiles mira, la visiódeKorcheck, produeixen una 92). Les ruïnes delacrisi, sempre en desenvolupament ho éstot”» (2015: dominant”, on “els finsnosón res iel “la imatge perfecta del’ordre econòmic lització d’“espectacle” deGuyDebord, mercat ifan referència alaconceptua ten capalanociód’“especulació” del des: «Les “ruïnes especulatives” apun ment enel segon epígraf: utilitat peraaquest article, principal TIER, 2016: 353-355)resulta degran en elcinema, eltext no existeix una teoria delmotiu visual del motivo enelcine»(2016: 16). Sibé el surgimiento deunauténtica teoría toca a “cuatro manos”, puedasuscitar decimos deunapieza musicalquese libro, escrito “a dospaíses”, como declaració benclara: «Ojaláqueeste flexió amoltes veus queparteixd’una BERGALA, 2016), unataxonòmica re serà fílmica queesprendrà enconsideració 2005: 21). mica, demográfica ybiológica» (MARÍ, fragilidad cultural, energética, econó considerado anteriormente.había Una Unreferent acadèmicd’iconografia «La ruina noshacereflexionar sobre Per altra banda, les ruïnes enqües Motivos visualesdelcine 1 , ésadir, comaresidus Lacicatriz Ruïnes dis (BALLÓ i hybris (LEPAS - -

------principal. consideració les ruïnes comaobjecte venció militantidenúncia, quepren en ha donat peuaunanova forma d’inter mesures perrevertir lasituació, sense ment espanyol iproposà una sèriede qüestionà elmodeldedesenvolupa aprovat pelParlament Europeu el2009, perspectives, coml’Informe Auken: rables, esposarà endiàleg ambaltres transició iunefecte totalment supe de les ruïnes quese’n deriven, comuna recuperació. moltes famílies. de Deruïnes asímbol crisi il’excés, aterritori onviuenavui resultaria paradigmàtic: d’iconadela aquest marc ideològic, elcasdeSeseña funció delaSAREB obancdolent menor marge detemps. Aquesta ésla i infraestructures disponibles, enel al millor preu elsestocs d’habitatge ques adequades, orientadesavendre públi superat mitjançantpolítiques un momentestacionari, quepot ser les ruïnes simplement exemplifiquen hagut degestionar lacrisiimmobiliària, tiva delsdiferents governs quehan del mateix context. Desdelaperspec hafet unalecturai polític antagònica ha consolidat una avançades, atallsdenavalla. Tot plegat s’assemblen atumors, ametàstasis mis territorials vistes desdel’aire que bades quenoarriben enlloc; epider l’estat; metafòriques carreteres inaca immobiliaris arreu de lageografia de de l’esclat delabombolla: cadàvers molts esforços afotografiar la fesomia ción Rotonda iBasurama handedicat cials. Elscol·lectius Terra Ferida, Na ecologista, fent úsdeles xarxes so per iniciatives vinculadesalmoviment interessa haestat impulsadafortament de laiconografia denoficcióqueens a críticaimilitància tòpiques. Elscadàvers immobiliariscom A bandadelcinema, lacirculació Aquesta interpretació delacrisi, i En contraposició, elpoder econòmic DOI: 10.31009/cc.2019.v7.i12.04 memètica crítica . 2 . En . En - - - - que que - - - - - 165

Vol. VII Article comparative cinema No. 12 JOAN MIQUEL GUAL 2019 Ruïnes. https://orcid.org/0000-0001-6692-3287 Motiu visual de la crisi immobiliària espanyola llardians”. de laHistòria sobrevola paratges “ba 2003: 101). Alacrisiespanyola, l’àngel mos progreso» (BENJAMIN aLÖWY, cielo. Esatempestad eslo quellama a éllasruinas seacumulanhasta el cual dalaespalda, mientras quefrente ja irresistiblemente haciaelfuturo, al guen davant seu. Elvent: «[...] lo empu el desastre deles ruïnes ques’amunte voluntat, mentre contempla impotent l’àngel delaHistòria contra laseva ta quebufa desdelparadís, empenyent sentada ambl’al·legoria d’una tempes concepte d’Història”. Aquesta éspre Benjamin enlanovena tesi “sobre el la críticadelprogrés formulada per futur. Les ruïnes sintetitzen visualment passat, contrària al’evolució envers el d’una catàstrofe humanaprovinent del a l’alemany, les ruïnes resulten sinònim nianes deles ruïnes de laHistòria. Per serà emmarcat enles ideesbenjami estat aplicadaadiad’avui. la preservació delmediambienthagi tantiva afavor deldret al’habitatge i dereorientació subs que cappolítica ninsular, aixícom tambéelskilòmetres liàries ubicades atota lageografia pe és elrecorregut perles ruïnes immobi (BASURAMA, 2011). 6000kilòmetres y deshecho demateriales yenergía» lacionados conlaproducción, consumo visibles ciertospaisajes-territorios re metabolismo delasciudades, haciendo 6000km de lagentrificació. plaçats al’estranger odeles víctimes troba enlafiguració humanadelsdes per viure, id’altres enquèlaruïna es en quèaquests edificises reutilitzen és unafigura immutable. Trobem casos figura dela ruïna immobiliària, però no El projecte delcol·lectiu Basurama Els edificisbuitssónlaprincipal Ruïnes d’unaguerra sensemorts Finalment, elmotiu visualesmentat convida a«reflexionar sobre el ------repartits en unaextensió de2’4 hec formada pertrenta-cinc habitatges Llanos de Velerín» (Estepona, Málaga), ro vuit: «Urbanización abandonadaen 6000km ruïna. sense tocar elterra, saltantderuïna en l’esquirol podriacreuar denord asud sula sensebaixar delsarbres. Avui dia, podia travessar denord asudlapenín que, durant l’època romana, unesquirol l’historiador igeògraf grec queafirmà sent aquellafamosa citad’Estrabó, paisatge quepermetadaptar alpre una transformació tanprofunda del benjaminià, atesos laforma il’objectiu d’un treball quepot serqualificat de pel·lícules, etc.–. Enconjunt, estracta escrits degeografia urbana, diàlegs de diferents fonts, segons elcas–novel·la, escala iunacitaexpressiva d’un text de gràfica delamateixa, a les dimensions estat d’abandonament, lasituaciógeo descripció del’obra ielseu urbanística que consta d’una fotografia, unabreu una d’elles éspresentada enunafitxa total detrenta-una ubicacions. Cada llibre digital. Aquest últimensenya un expositius, unmapacol·laboratiu iun batalla». més amunt: «Paisaje despuésdela amb elfragment deChirbesreproduït 2020. Elsubtítol delprojecte connecta construir al’estat espanyol abansde d’Infraestructures de Transport) preveu d’autopista queelPEIT (PlaEstratègic a quèfa referència ment espanyol. ciï elfracàs delmodeldedesenvolupa unacríticavisualqueeviden articular produir determinat: unefecte polític La sumadefragments iimatges busca Libro delosPasajes referència, assimilable alscapítols del presenta unaestètica delacitai quepersegueix.polític Enelplaformal, 6000km Com aexemple expressiu de La devastació delterritori espanyol , només calmirar la fitxa nume articula diferents articula projectes DOI: 10.31009/cc.2019.v7.i12.04 6000km (BENJAMIN, 2013). hasuposat ------166

Vol. VII Article comparative cinema No. 12 JOAN MIQUEL GUAL 2019 Ruïnes. https://orcid.org/0000-0001-6692-3287 Motiu visual de la crisi immobiliària espanyola camp d’emprenedoria enquèaplicarla denegoci,com unaoportunitat un de laperspectiva delpodereconòmic, reflecteix laideadecrisientesa, des als salons». D’aquesta manera, elfilm bre elport, noquanelsviolinssonen mulen mentre les bombescauen so acadèmica: «Les grans fortunes s’acu citant Rothschild enunaconferència sentim ungran guru del amb seqüènciescomaquellaenquè cenes del’enderrocament d’un pisantic llargmetratge denoficcióintercala es iconografia plantejada finsaquí. Aquest Álvarez, 2011)permetaprofundir enla guerra s’apropa alaplena literalitat. manera, lametàfora delpaisatge de de defensa iemboscada. D’aquesta nament onsoldats assagen tècniques mostra reconvertit enuncampd’entre satge posterior alabatalla, Wetzel el col·lectiu presenta artístic comunpai l’exèrcit espanyol. L’escenari, queel buits hanestat reutilitzats de perpart tra com, sorprenentment, elsimmobles todos el llargmetratge denoficció tàrees. Aquest indret tambéapareix en llar. sones ifamílies desnonades delaseva en màquinesdeviure, amansdeper conversió dels esquelets immobiliaris reutilització delshabitatges buits en primerlloc, dela da enelsegüent epígraf. parlarem, Aquí qual dedicarem unareflexió aprofundi cal esmentarelmoviment ecologista, al més derrotats. Senseanarméslluny, ruïnes evidencien quehihahagut molts qui sónelsguanyadors delabatalla, les blement. l’habitatge havien descenditconsidera del film, enquèaEspanya elspreus de d’ofertes, enuncontext, eldelpresent i unapossibilitat especulativa plena destrucció creativa schumpeteriana, L’any 2017, Idealista pu elportal Si bé Mercado defuturos (Gereon Wetzel, 2013), quemos Mercado defuturos iconografia dela (Mercedes show business deixa clar Casas para , de la ------moviments socialsdemajorincidència el procés d’autoorganització d’un dels Barcelona sepuede.Sí SietedíasenlaPAH de La Plataforma perdut lallarentre 2008i2015. de més400.000 famílies quehan (PAH), entre 2008i2011, deixen untotal Plataforma d’Afectats perlaHipoteca 244.000 quetingueren lloc, segons la Banc d’Espanya), elsquals, sumats als 177.900 desnonaments(dadesdel sa queentre 2012i2015esproduïren el puntmésalt. Lanotícia tambéexpo què elpicdecasesbuidessesituàen 348.000 habitatges desde2010, any en La notícia explica que s’havien absorbit España» (REDACCIÓN IDEALISTA, 2017). enventa portoda de viviendasvacías la vivienda: aún arrastra 1’36millones blicava el següent titular: «Ellastre de Valenciana perexplicar comvatenir enlaComunitat fixà específicament Spanish Crash drien mencionar, destacarem reportatges sobre laqüestió queespo com internacional. Delgran nombre de major intensitat, tantanivell nacional televisiva imediàtica enelsanys de de lacrisivaacaparar moltaatenció ses senserecursos. un edificiocupat per famílies andalu mostra l’experiència deCorrala Utopía, de Wetzel esmentat mésamunt, elqual nografia tambéestà present enelfilm a l’article 47delaConstitució efectiu eldret al’habitatge, contemplat peració populardelesruïnes d’aquestapart generats desdelaPlataforma, formen mapes interactius d’habitatges buits com ocuparalagent comuna, oels de laPAH», elsmanualsqueensenyen amb eldomàsindicatiu «Obra Social gent!». Centenars d’edificis ocupats s’entén, gent sensecasesi lògans mésconeguts delaPAH és«No a l’Espanya democràtica. Undelses En aquest marc, documentalscom En segon lloc, l’empobriment derivat (Pau Faus, 2014)ensenyen (JonHerranz, 2012)o (BBC, 2012). Aquest es iconografia delarecu DOI: 10.31009/cc.2019.v7.i12.04 perfer 3 The Great The Great . Talico ------167

Vol. VII Article comparative cinema No. 12 JOAN MIQUEL GUAL 2019 Ruïnes. https://orcid.org/0000-0001-6692-3287 Motiu visual de la crisi immobiliària espanyola extraña exilio a documentalscom d’oportunitats, untema abordat també destí millor al’estranger permanca d’emigració forçada alarecerca d’un nes resultensinònimd’exili econòmic d’altres països. Enaquest cas, joves sensefeina d’empobriment, elreporter entrevista exemple. Per completar elpanorama de primera necessitat: llet isucre, per d’aliments, onespodenobtenir béns de lagent mésnecessitadaunbanc associació tambéposaadisposició aturats dellarga durada. Lamateixa orientat afacilitar l’ocupació dels el programa d’una associaciódeveïns constructora, elreportatge ensenya de grues funcionant aple rendiment. donades, allàonabanshihavia boscos imaginari ambabundantsobres aban Chirbes Miquel deSalines, similaralMisentde de lacrisiéselpoblet alacantídeSant indrets escollitsper mostrar elsefectes lloc elcrack econòmicgeneral. Undels tat espanyol. estan situatssi béenbona part a l’es que tenen lloc amoltsindrets delmón, viduals, els casosd’expulsió deveïnat documenta, d’aportacions indi apartir El museodelosdesplazados tejat lacreació del’arxiu col·laboratiu madrileny Left HandRotation ha plan determinats barris queelcol·lectiu tantes persones forçades aabandonar urbanística. Posteriorment, hihahagut després d’una transformació important barri delRaval,trificació albarceloní pre-crisi delasubstitució socialogen Guerín, 2001)javasuposar unexemple de ciutat. sats perlareforma urbanaielmodel humana deldesplaçat, delsexpul ció immobiliari: altra iconografia vinculadaalcicle , unprocés indestriable delafigura En tercer lloc, s’ha d’esmentar una Com aconseqüènciadelaparàlisi (Rubén Hornillo, 2015)o (Icíar Bollaín, 2014). (Icíar 4 : unpoble costaner valencià En construcción les ruïnesdelagentrifica , exiliats laborals Españoles enel (José Luís (José Luís . Aquest En tierra les ruï - a , ------mirades comlaqueproposa més dialèctics sobre elmateix context, nal, caltenir encompte altres relats manera pelseuautor: ruïnes iapareix descritdelasegüent yal (València)–. Aquest ensenya moltes d’Alejandro S. Garrido sobre elCaban dels tres queformen delprojecte part treball fotogràfic que també hoésde “barbàrie”. minianament, un “document decultura” nuació, elpaisatge delacrisiés, benja aquesta raó, ialtres queveurem aconti clara laforta desigualtat existent. Per o derrotats perlacontesa quedeixa com perassenyalar unmapad’arruïnats productiu entresímil guerra icrisi, així serveixen pereixamplar iaprofundir el satge humà. Ambdós, enconcatenació, és completament indestriable delpai morts. resultant Elpaisatge urbanístic de definida comunasort guerra sense de les seves abundantsruïnes, pot ser espanyola que, delaiconografia apartir lloc alacrisifinancera-immobiliària Aquestes situacionstambéhantingut bresa, exili i desplaçaments de població. suspensions dedrets, situacionsdepo direm queales guerres esprodueixen l’actual població delbarri valencià. zacions, neguits, fites iesperances de Pressmann, 2018), sobre les mobilit més actual la plataforma Salvem ElCabanyal, ola els 15primers anys deresistència de Cabanyal work in progress Malgrat aquesta visióunidimensio Com aexemple deladocumentació Com atancamentd’aquest epígraf, existente» (GARRIDO, 2011). dad identitariaodiscursiva pre suplantación detoda heterogenei social, elpatrimonio cultural yla pasa porladestrucción deltejido ciudad-marca, lanueva Valencia, no acómolaproducción deuna Valencia. Elproyecto gira entor la destrucción delCabanyal en «Proyecto visualquecircunda (Sergio Tarín, 2013), sobre Cabanyal any zero , mencionarem el aquí DOI: 10.31009/cc.2019.v7.i12.04 Consumo delugar Abril al Abril al (Frederic –un –un ------168

Vol. VII Article comparative cinema No. 12 JOAN MIQUEL GUAL 2019 Ruïnes. https://orcid.org/0000-0001-6692-3287 Motiu visual de la crisi immobiliària espanyola María Aznar(CALVO ROY, 1997), per i coml’havia definit elpresident José ser sinònimde “miracle econòmic”, tal ments, elpaisatge espanyol deixà de a causa delacrisi. Enaquellsmo de l’esclat queestava pervenir. (Guillermo Cruz, 2014)–tambéavisaren –entrevistat aldocumental Universitat deMontreal, Ricard Vergés dràtic enEconomia Immobiliàriaala (FERNÁNDEZ DURÁN, 2006)oelcate l’ecologista RamónFernández Durán será eleventual estallido» ria. Cuanto mayor seaelboom, mayor mayor burbujafinanciera delahisto [...] Elboominmobiliarioglobal esla da, portanto tiempoyentantos países crecido tanto los precios delavivien dos anys abansque«Nuncahabían No obstant, de lacrisisfinanciera» (EL PAÍS, 2007). Zapatero afirmà: «Españaestá asalvo govern espanyol Rodríguez José Luís immobiliaris comacríticaimilitància similar ialineada. queaplicaven demanera les polítiques majoritaris,els dospartits acausa de cada copresultaven mésindistingibles concepte #PPSOE, perevidenciar que de les xarxes iles placesesvacrear el «¡PSOE-PP, lamismamierda es!». Des pals delmoviment ciutadà15M. També ta» havia estat undelseslògans princi documental, «Ningú noensrepresen yaren. Unany abansdel’estrena del massiva desocupacióquel’acompan deixar debandaelsdesnonamentsila i caiguda delcicle immobiliari, sense cels madrileny, capta lahistòria d’auge sencer:país através del’icònic grata El títol funciona comunametàfora del expressiva elsefectes delaparàlisi. Moreno, 2012)plasmade manera molt abandonament. passar aserunpaisatge deruïnes i L’any 2008esdetingueren les grues L’any 2007, l’aleshores president del L’Informe Auken enimatges Ruïnes distòpiques. Elscadàvers The Economist The Edificio España 5 . Veus com havia avisat €uroestafa (Víctor ------

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obres menys auna, ladata d’abando de 1993a2007. També, en totes les anys de creixement sostingut quevan en unapromoció, vatenir lloc enels en comúunfet: laplanificació, excepte ment delstreballs. Tots elscasostenen planificació, construcció iabandona explicació cronològica delatramitació, fies, aèriesisobre el terreny, una breu Maps.Google peninsular ilocalitzades através de nades, repartidespertota lageografia mostra endetall 25promocions fre expressiu subtítol. Entotal, Schultz Requalificacions (de terrenys) interes els seuspuntsméscríticseren: 1. tics enelcontext espanyol. Entitulars, posava puntifinalalsabusosurbanís congelació defons comunitarissinoes tenció delPSOE. L’informe demanava la vot encontra delPartitPopular il’abs per les ielseurodiputats, sibéambel gista. Va seraprovat aclaparadorament fonamentalment del moviment ecolo cies d’agressions alterritori provinents text estava redactat dedenún apartir peticiones recibidas» (AUKEN, 2009). El rio, confundamento endeterminadas y laaplicacióndelDerecho comunita dadanos europeos, elmedioambiente los derechos individuales delos ciu la urbanizaciónextensiva enEspaña Aquest tractava sobre «Elimpacto de envers eldemolidorInforme Auken. d’ambdues formacions polítiques tinció popular, s’hi trobava lareacció indagació. BURG, 2012)unainteressant ipionera Ruinas modernas situació denunciadatrobà enelllibre compleixen (LEAL, 2009). culpables; 10. Les sentències noes tràries; 9. Totes les administracions, quasi ignorada; 8. Demolicionsarbi venent casesil·legals; 7. Llei decostes 5. Modelespoliador; 6. Escontinuen Les illes, aniquilades perl’especulació; miques; 3. Bonafe vspocsescrúpols; 4. sades; 2. Ciutadans/es víctimes econò Entre les raons d’aquesta indis La traducció enelpaisatge dela Topografía dellucro Acompanya les fotogra DOI: 10.31009/cc.2019.v7.i12.04 (SCHULTZ-DORN és el seu éselseu ------169

Vol. VII Article comparative cinema No. 12 JOAN MIQUEL GUAL 2019 Ruïnes. https://orcid.org/0000-0001-6692-3287 Motiu visual de la crisi immobiliària espanyola nogràfic éseldela de serresidències, elseusentitico sàpiga quèfer ambelles. Sibéhavien i ample delterritori, sense queningú totes les midesespodreixen alllarg Centenars depromocions fantasma de Schultz-Dornburg continuavigent. la suposadarecuperació econòmica. d’instàncies delpoder, comunmirall de fia deSeseñahanestat utilitzats, des en altres paraules: elcasilaiconogra ensenyavertint-se deregeneració. Dit tatges existents, untotal de5.096, con seva fesomia: s’han venut tots elshabi Avui, aquesta urbanitzacióhacanviat la tals com sos reportatges depremsa idocumen d’abandó id’excés, objecte denombro Paco i polític “El Pocero”, iunsímbol promoguda pelcorrupte constructor ña Nueva, unaconstrucció faraònica peració. Elprincipal: ElQuiñón, Sese creat elsseuspropis mites derecu ment. el cicle immobiliariilacrisirespectiva dues temporalitats coincideixen amb nament té lloc entre 2008i2011. Amb els indrets similars enescenariteatral: l’absurd, Jordi Puntí proposa convertir s’ha aturat, sensesentit. Per constatar famílies (BRUNAT, 2017). Allà eltemps Burgos), queavui hauria d’allotjar 1.600 citar-ne un, deSoto delReal (Buniel, d’haver estat saquejades. Éselcas, per en improvisats abocadors, després truccions s’han convertit literalment De fet, moltes d’aquestes semi-cons Malgrat Seseña, elllibre de Per contra, elcapitalismehispàha parecería máslógico queinterpre pacios abiertos. Una vez allí, nada ra Españaenbuscadeesoses de teatro itinerante yquerecorrie trataría demontarunacompañía zá les parezca irreverente, pero se gentileza deSamuelBeckett. Qui través deunhomenajealabsurdo, tido atodo esesinsentidoseríaa «una buenaforma dedarsen Casas para todosi ruïna-escombraria

€uroestafa ------. - - - - - . - - la mirada enles ruïnes enteses coma ruïnes deguerra, enaquest centrem Si enl’anterior epígraf parlàvem de mana topografia dellucre immobiliari. on tambéespot explorar unamegalò construïdes iabandonades xineses, a que existeixen ales múltiples ciutats arquitectònics: perexemple, aquells amb unageografia global dels residus finalitats: logistas enAcción, perseguint diferents o organitzacions ecologistes comEco blo Arboleda, col·lectius comBasurama promoguda perinvestigadors comoPa de dades dàver immobiliari econòmica, elqualevoca laideade devastat fruit delapura especulació material dedesfet, comunpaisatge Aquest paisatge espanyol connecta cer”» (PUNTÍ,cer”» 2012: 117-119). a Vladimir: “No hay nadaqueha luz, aparecería Estragón yle diría da. Entonces alatardecer, amedia piscina vacía, conagua encharca inmobiliaria; elinterior deuna anuncio roto deunapromoción tráfico; unapalmera junto aun a medioasfaltar yunaseñalde a undescampado; unacarretera rio seríanatural: unafarola junto tar grandes desarrollos fallidos). En restauración delterreno (sobran sos para pedirlademolicióny/o expandiéndonos. Enotros ca lo ya construido enlugarde seguir so viviendassociales, utilizando sociales, huertos urbanos oinclu otros usoscomoequipamientos o características puedenacoger que porsusituación, propiedad más urbanos(edificios, solares) para identificaraquellos espacios protegido yreivindicarlos. También su situaciónaladesuelo rústico o propiedad, situación)derevertir susceptibles (porsusvalores, ficar espaciosysuelos quesean «En primerlugar, para identi Esperando aGodot cadaveresinmobiliarios.org DOI: 10.31009/cc.2019.v7.i12.04 , recollida enlabase . Elescena - ca - , ------170

Vol. VII Article comparative cinema No. 12 JOAN MIQUEL GUAL 2019 Ruïnes. https://orcid.org/0000-0001-6692-3287 Motiu visual de la crisi immobiliària espanyola (KORCHECK, 2015: 92). frescos del’economia especulativa» rada del’espectador sobre elsresidus lupament, tot ralentint oaturant lami l’especulació com aprogrés idesenvo grafies, encanvi, trenquen lail·lusióde ment accelerat idesenfrenat, les foto flux decapitaliinversió, permanent sempre capalfutur, conduïdaperun nal. Enparaules deKorcheck: ra qualsevol tipusdeplanificació racio capitalisme enquèl’especulació supe sinó lavigència d’una fase aberrant del caràcter sublimdeles ruïnes antigues, d’un temps passat, nimoltmenys el estètica ésquenoexpressen nostàlgia beralisme regnant avui dia, una que s’escampen arreu delmónresulten, sions iunaforta inversió privada: els crèdits delBancEuropeu d’Inver inversió estatal, elsfons comunitaris, d’infraestructures, impulsadesperla ha anat acompanyada del’edificació “memètics”. La construcció massivad’habitatges Ferides, cicatrius italls de navalla «Si l’especulació delmercat mira Finalment, elspaisatges deruïnes sitio! Note preocupes, los sitioslos politanas han repercutido decisi en lasperiferias urbanas ymetro ciales ( n.d.). LEDA, RUINAS MODERNAS et al., (ARBO oartísticos» analíticos el rigor oconotros enfoques más no tieneporquéestar reñido con práctico yreivindicativo, lo que definitiva, nosmueve unpropósito «¡Esta autopista nolleva aningún «las nuevas tipologías residen boom senya identitària delneoli delchalet adosado) . Laseva singularitat creará ella.» El Roto El ------6 la pelldelplaneta. ferides, ésadir, coma agressions sobre territori comanavallades, cicatrius i reixen enel alsexcessos urbanístics tota unasèriedetreballs queesrefe a nivell iconogràfic, espot resseguir imatge (tercera pell). Significativament, biosfera (primera pell)ilasocietat dela NÁNDEZ DURÁN, 2010), distinta de la planeta, conuna “segona pell” (FER conjunt d’intervencions humanesenel nit elcomplex urbà-agro-industrial, el cia audiovisual sobre latransformació proliferen múltiples formes demilitàn 2015: 355). Avui, enelcontext espanyol, paisajes ylos territorios» (LEPASTIER, com un«testimonio deldolor delos una iconografia figurada que funciona la construcció decarreteres, existeix ment alrelat deprogrés queenvolta les seves venes obertes. que ensenyen lamagnituddeles obres, alternats isobreposats ambimatges càriament, pràcticament inaudibles–, afectades –enàudios enregistrats pre d’aquells anys: testimonis depersones a través del’estil narratiu durdelSoler expulsions depoblacionsoriginàries, múltiples enderrocs, expropiacions i enduesmeitats,dí Galícia provocant construcció d’una autopista quedivi instrument deconscienciaciósobre la un títol pionersobre laqüestió, un contra laAutopista delAtlántico. Fou encàrrec delaCoordinadora delalucha llada ánosaterra i ciutats gallecs Ramón Fernández Durán hadefi El 1977esprojectava amoltspobles De manera general, contrària 2006: 13). (FERNÁNDEZpectacular» DURÁN, etc.) hasidoverdaderamente es aeropuertos, grandes puertos, topistas, trenes dealtavelocidad, infraestructura detransporte (au territoriales. Así, lacreación de espacial delos nuevos desarrollos vamente enlaacusadaocupación Autopista, unhanava DOI: 10.31009/cc.2019.v7.i12.04 (Llorenç Soler, 1977), ------171

Vol. VII Article comparative cinema No. 12 JOAN MIQUEL GUAL 2019 Ruïnes. https://orcid.org/0000-0001-6692-3287 Motiu visual de la crisi immobiliària espanyola perspectiva del “cadàver” enqüestió i mateix terreny, oferint aixíunaaltra de les ubicacionsrealitzades sobre el tes vanacompanyades defotografies rastre delahíper-explotació. Aques del territori–, les quals evidencien el –que comparen elpresent ielpassat principalment utilitzen imatges aèries aterme aquesta popularització,portar el urbanismo»(CARRETERO, 2015). Per popular unacosamuytécnica comoes güent manera: «Esunaforma dehacer defineixen lapròpia pràctica delase especial èmfasi enles rotondes. res iautopistes abandonades, posant trant-se principalmentenles carrete existeix d’agressions alterritori, cen que configuren l’arxiu méscomplet que cipativa compta ambmilers d’entrades illes. Aquesta cartografia críticaparti iles pobles i ciutats delapenínsula presents amolts cions urbanístiques identificar sobre unmapa les aberra col·laboratiu queconvida lapoblació a quinze anys, mitjançantunprojecte del canvi d’ús delterritori enelsdarrers Nación Rotonda documental’inventari del paisatge iles seves conseqüències. de monuments del’excés il’abandó. col·lectiu, documentaunampli catàleg individuals iviatges delsmembres del tir d’imatges deGoogle, aportacions encàrrec públic, nimoltmenys. Apar que proposa NaciónRotonda noésun seus inicis. Encontraposició, el a lafotografia pràcticament des dels nacionals, atorgant aixíusospatriòtics tar imatges delsmonumentshistòrics envià l’any 1851cincfotògrafs acap la ments oobres públiques. Per exemple, encarregaven perdocumentarmonu finals delsegle XIX, queels governs presentació toponímica, iniciadaa missió fotogràfica: una de forma re la reinvenció subversiva del inaugurades pelcontext 2.0 permeten apropant elseuaspecte alagent. Mission Héliographique Les possibilitats decol·laboració El membres deNaciónRotonda francesa survey survey o ------

de les experiències mencionadesfins la mateixa, esdevinguin virals bientals ipaisatgístiques associadesa qüestió, iles conseqüènciesmediam gueix l’objectiu quelaiconografia en memètica delesruïnes, aquesta forma d’intervenció militant de les xarxes socials. Anomenarem vehicula desdefa unsanys através del motiu visualqueensinteressa es untotalvan aportar de28.151€. necessitaven 8.000 €, 972mecenesen campanya demicromecenatge. Sies CÍA i TRAPIELLO, 2015) mitjançantuna Rotonda publicació delllibre homònim les fites aconseguides, caldestacar la «Antes todo era campo». aquí Entre ses sobre latransformació delterritori: cull unaexpressió habitualenconver L’eslògan deNaciónRotonda, irònic, re cions. Nonomésdocumenta iarticula dels programes iadministra departits es confronta ambelsincompliments s’ha que convertit enunsubjecte polític que, mésenllàd’ensenyar les ruïnes, el turisme. Estracta d’una organització ment balear, basat enlaconstrucció i denúncia delmodeldedesenvolupa dinadora deMallorca)– Llibertària de gràfic d’Ornitologia Balear (GOB)oelmono campanyes –juntament ambelGrup superior, illes requeriria d’un territori 15vegades a dir, elnivell demobilitat actual deles de Balears» (MURRAY, 2012: 2894). És des lasuperfícieterrestre disponible seria d’unes 14’7vegades o17’7vega per satisfer eldèficit ecològic terrestre ja que, avui, «lasuperfícierequerida metàfora visualnoresulta exagerada, vastada perautovies icarreteres. La mostra Mallorca completament de Rotonda. Ellogotip del’organització de críticavisualsimilaralaNación han desenvolupat tambéunapràctica aquí, altres col·lectius com Terra Ferida La circulació enl’esfera mediàtica Terra Ferida iimpulsa participa Totinclòs (TRAPIELLO, ALVÁREZ, GAR 15 arxipèlags (publicat perlaCoor DOI: 10.31009/cc.2019.v7.i12.04 . perquè perse 7 . Abanda Nación Nación ------172

Vol. VII Article comparative cinema No. 12 JOAN MIQUEL GUAL 2019 Ruïnes. https://orcid.org/0000-0001-6692-3287 Motiu visual de la crisi immobiliària espanyola maneres d’abordar críticamentuna col·lectius exemplifiquen diferents audiovisual icol·laborativa dediferents per lacrisi–comPAH– ilamilitància tra banda, elsmoviments dederrotats paral·lelisme entre guerra icrisi. D’al exiliats, desplaçats–, queassenyalen el figures arruïnades –pobres, endeutats, geridora comperpensarenmúltiples batalla resulta unaimatge prou sug no ficció. Elpaisatge després dela de lacrisiimmobiliàriaaimatge de rats, sobre elmotiu visualdeles ruïnes cinema, televisió ifotografia compa ha servitpercatalitzar unexercici de turístiques delmón. d’una deles principalssúper-potències i intentar revertir, lapetjada ecològica paisatge comunmitjàperpopularitzar, la visibilitzaciódedestrossa del Així, ladenúnciade Terra Ferida utilitza servació delmediambientdeles illes. orientades alajustícia socialialapre talles judicials iconvoca mobilitzacions crítiques artístiques, sinóqueobre ba severament posada enqüestió. la utilitat detantaconstrucció està compte, en elplavisual, d’una malaltia: rides, cicatrius imetàstasis que donen paisatge està ple detallsnavalla, fe ruïnes tambéesdevenen al·legories: el diambientals. Enaquest sentit, les progrés, centrada enqüestions me elaborar unacríticaalaideologia del de noficcióposteriors alacrisipermet ginari deBallard iles representacions de ques visualsatravés delacirculació Aquestes hanposat enpràctica críti vinculades almoviment ecologista. estat unobjecte d’atenció d’iniciatives malestar enlapoblació. situació caracteritzada perunenorme memes Per totes aquestes raons, resulta D’altra banda, les ruïnes tambéhan El fragment delanovel·la Conclusions . Elparal·lelisme entre l’ima En la orilla En laorilla ------obertes icicatrius, queestracten enel segon lloc, les imatges aèries, ferides que s’aborden enelprimerepígraf; en ges apeu deterra, quesónles imatges paisatgística, elbuiturbàdeles imat pals: enprimerlloc, lafantasmagoria nerat duestipologies d’imatges princi igualtat il’abús delmediambient. aquest sentit, unrecordatori delades El motiu visualdeles ruïnes resulta, en no podenbrillarperlaseva absència. litat ila garantia del dret al’habitatge profund demodel, enquèlasostenibi en primerplalanecessitat d’un canvi de ladevastació mediambientalposa biliària: laperspectiva delsderrotats i imatges deles ruïnes delacrisiimmo funciona comunpeudepàginaales Benjamin endiferents escrits. Aquesta perWalterca alcapitalismeaportada apropiat remetre tot plegat alacríti però aplicat alpresent immediat ilocal: ballardià deciència-ficciócatastròfica, del seuestatut denoficció, l’univers la muniódecarreteres evoquen, des greu. ruïnes queevidencien unquadre clínic cies negatives queaixò comporta. Són valor d’ús, ambtotes les conseqüèn valor decanvi està moltpersobre del nes quotidianes d’un present enquèel antigues. Mésaviat, estracta deruï amb elcaràcter sublimdeles ruïnes pell; aquest paisatge no té res aveure immobiliària imalaltiadelasegona Sinònim d’escombraries, d’especulació sencial delpaisatge delneoliberalisme. crisi espanyola resulten es unapart segon epígraf del’article. La iconografia de les ruïnes ha ge Els esquelets d’habitatges buitsi A nivell iconogràfic, les ruïnes dela las páginas de te abandonados. [...] Al igual que de mar igualmen sucesivas líneas cerrados ycoronas dehoteles en degradadas, [...] supermercados del relato describen carreteras «Las imágenes máscerteras DOI: 10.31009/cc.2019.v7.i12.04 Low-Flying Aircraft ------

(J. G. Ballard, 1974) el trabajo de de la Constitució espanyola. Per aquest Schultz-Dornburg confronta nues- motiu, no resulta exagerat afirmar que, tra mirada con las ruinas de una com a les guerres, quan es declara modernidad urbana tan soberbia l’estat d’excepció, part de la carta de y totalizante como desfigurada drets ha quedat suspesa, si bé no és un en su propio abandono» (MUÑOZ, conflicte armat el que ha cancel·lat ga- 2012: 7-9). ranties democràtiques com l’habitatge, comparative cinema comparative Finalment, les ruïnes també ens sinó una altra forma d’excepcionalitat parlen sobre la violació de l’article 47 provinent d’un ordre dels mercats.

1/ Seguint la definició del diccionari anglès Collins, per ballardià s’entén: «semblant o que suggereix les condicions descrites a les novel·les de J. G. Ballard, especialment distòpia moderna, desolats paisatges artificials i els efectes psicològics dels canvis tecnològics, socials o mediambientals» (s.d.).

2/ La Sociedad de Gestión de Activos procedentes de la Reestructuración Bancaria (SAREB) és una societat anònima, participada al 55% per capital públic i 45% per capital privat, encarregada de la gestió d’actius immobiliaris de quatre entitats ban- càries que entraren en fallida.

3/ «Todos los españoles tienen derecho a disfrutar de una vivienda digna y adecuada. Los poderes públicos promoverán las condiciones necesarias y establecerán las nor- mas pertinentes para hacer efectivo este derecho, regulando la utilización del suelo de acuerdo con el interés general para impedir la especulación».

4/ Aquest és el poble valencià imaginari on transcorren la majoria de les novel·les de 173 Chirbes.

5/ La notícia, publicada el 18/06/2005, està citada a FERNÁNDEZ DURÁN, 2006: 1.

6/ Vinyeta publicada a El País, 09/09/2011.

7/ A dia d’avui, el compte de Twitter compta amb més de 19.000 seguidors, que, sumats als més de 10.000 amics de Facebook, fan de les xarxes socials el principal mitjà de comunicació i difusió de les ruïnes de la crisi.

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Vol. VII Article comparative cinema No. 12 JOAN MIQUEL GUAL 2019 Ruïnes. https://orcid.org/0000-0001-6692-3287 Motiu visual de la crisi immobiliària espanyola Vol. 19, pp. 91-108. of theSpanishEconomic Crisis. Arizona Journal of HispanicCultural Studies esplendor delaruina d’abril de2018]. lefthandrotation.com/museodesplazados/ficha_a_garrido.html Hand Rotation –Elmuseodelosdesplazados. conquista delalma. article.php3?id_article=4824 mundial. Ecologistas enacción. 2018]. diario/2007/08/22/portada/1187733606_850215.html financiera. ElPaís 2018]. diario/2003/10/04/espana/1065218417_850215.html el posibleestallido delavivienda. ElPaís CCCB/Diputació deBarcelona. nacion-rotonda_n_7654460.html d’agost de2015. Recuperat de: delacrisis(FOTOSurbanísticos ANTES Y DESPUÉS). Huffington Post [accés: 5d’abril de2018]. de: estadounidense ‘Wall Street Journal’. ElPaís d’abril de2017]. promociones-urbanizaciones-fantasma-se-pudren_1331763/ Recuperat de: “Nunca nadiequerrá viviraquí”. ElConfidencial Motivos visuales delcine esplendor delaruina Económica. de lastesis “Sobre el concepto dehistoria”. (eds.), suvivienda/1238071948.html 26 demarç de2009. Recuperat de: BRUNAT, David (2017). KORCHECK, Kathy (2015). HISPANO, Andrés (2005). LEAL, José F. (2009). CALVO ROY, José Manuel(1997). MUÑOZ, Francesc (2012). MARÍ, Antoni (2016). MARÍ, Antoni (2005). LÖWY, Michael (2003). LEPASTIER,(2016). Joachim GARRIDO, Alejandro (2011). FERNÁNDEZ DURÁN, Ramón(2010). FERNÁNDEZ DURÁN, Ramón(2006). EL PAÍS (2007). DÍEZ, Anabel(2003). COSTA, Jordi (dir.) (2008). CHIRBES, Rafael (2013). CARRETERO, Rodrigo (2015). https://elpais.com/diario/1997/05/21/economia/864165602_850215.html Motivos visualesdelcine http://www.elconfidencial.com/vivienda/2017-02-20/ , 4d’octubre de2003. Recuperat de: Zapatero garantiza queEspaña está asalvo delacrisis Barcelona:editorial. Virus (pp. 13-21). Barcelona: Fundació Caixa Catalunya. (pp. 173-183). Barcelona: Fundació Caixa Catalunya. Los diez azotes deAuken alladrilloespañol. ElMundo Zapatero culpa al Gobierno de desoír susavisossobre dedesoír Zapatero culpaalGobierno La ruina. El esplendor delaruina (pp. 214-219). Barcelona: GalaxiaGutenberg. Walter Benjamin: avisodeincendio. Unalectura Las promocionesfantasma sepudrenensilencio: En laorilla. Soñando nuestra ruina. J.G. Ballard. Autòpsiadelnoumil·leni. [accés: 5d’abril de2018]. Prólogo [accés: 5d’abril de2018]. Speculative Ruins: Photographic Interrogations Cabanyal 2011–Consumodelugar. Left http://www.huffingtonpost.es/2015/06/24/ Recuperat de: La cicatriz. (pp. 353-355). Barcelona: GalaxiaGutenberg. Nación rotonda: 10ejemplosdedesastres BALLÓ, Jordi iBERGALA, Alain (eds.), [accés: 4demaig2018]. www.elmundo.es/elmundo/2009/03/26/ “Yo soy elmilagro”, asegura Aznaraldiario .SCHULTZ-DORNBURG, Julia, Barcelona: Anagrama. Tercera piel. Sociedaddelaimagen y El Tsunami urbanizadorespañoly . Recuperat de: BALLÓ, Jordi iBERGALA, Alain Buenos Aires: Fondo deCultura , 21demaig1997. Recuperat Recuperat de: www.ecologistasenaccion.org/ , 20defebrer de2017. . MARÍ, Antoni (ed.), MARÍ, Antoni (ed.), DOI: 10.31009/cc.2019.v7.i12.04 https://elpais.com/ [accés: 5d’abril de [accés: 5d’abril de https://elpais.com/ http://www. [accés: 5 [accés: 5 Barcelona: Ruinas El , 5 , 5 El ,

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Vol. VII Article comparative cinema No. 12 JOAN MIQUEL GUAL 2019 Ruïnes. https://orcid.org/0000-0001-6692-3287 Motiu visual de la crisi immobiliària espanyola Rafael. (2015). lucro. [accés: 5d’abril de2018]. www.elmundo.es/economia/2016/04/22/57190cbe468aeb39418b45ee.html de “El Pocero” enSeseña. ElMundo «Sobre elconceptodehistoria». tesis deWalterBenjamin millones-de-casas-vacias-en-venta-por vivienda/2017/09/14/747998-el-lastre-de-la-vivienda-aun-arrastra-1-36- de 2017. Recuperat de: enventa portodaEspaña.millones decasasvacías Idealista Ruinas modernas. Unatopografia dellucro [accés: 9denovembre de2018]. Ciències dela Terra. Recuperat de: vol. 3. Palma deMallorca: Universitat deles Illes Balears, de Departament metabolisme socioeconòmicipetjadaecològicad’unasuperpotènciaturística, modernas. Unatopografia dellucro MURRAY, Ivan(2012). G TRAPIELLO, Guillermo; ÁLVAREZ, Miguel; GARCÍA, Esteban i TRAPIELLO, SCHULTZ-DORNBURG,(2012). Julia PUNTÍ,(2012). Jordi SALIDO COBO, Jorge (2016). REYES MATE, Manuel(2006). REDACCIÓN IDEALISTA (2017). 175. DOI: 10.31009/cc.2019.v7.i12.04 Com citar immobiliària espanyola. espanyola. immobiliària Barcelona: Àmbit. Nación Rotonda

GUAL, Joan Miquel(2019). http://www.idealista.com/news/inmobiliario/ Arqueología delfuturo. eografies delcapitalisme balear: poder, Comparative Cinema Comparative . Madrid: PHREE. Larecuperación Inmobiliariallegaalaciudad Medianoche enlahistoria: Comentarios alas El lastredelavivienda: aúnarrastra 1,36 http://hdl.handle.net/10803/104203 , 22d’abril de2016. Recuperat de: http:// (pp. 7-10). Barcelona: Àmbit. Ruinas modernas. Unatopografia del [accés: 5d’abril de2018]. (pp. 117-119). Barcelona: Àmbit. Ruïnes. Motiu visual de la crisi crisi la de visual Motiu Ruïnes. SCHULTZ-DORNBURG, Julia, , Vol. VII, No. 12, pp. 162- DOI: 10.31009/cc.2019.v7.i12.04 Madrid: Trotta. , 15desetembre

Vol. VII comparative cinema Arnau Vilaró No. 12 2019 Moncasí

BENAVENTE, Fran. 176-179 El héroe trágico en el western. El género y sus límites. Athenaica, Sevilla, 2017, 356 pp. Data de recepció: 02/07/2018 Data d’acceptació: 27/08/2018

L’heroi de John Ford, escrivia Tag Gallagher, destaca per la vulnerabilitat emocional més que no pel seu poder físic, alhora que sustenta la humanitat, la seva comunitat, i assenyala cap a un món millor (GALLAGHER, 2009, p. 638). El héroe trágico en el western podria ser la història d’aquest heroi, situat a cavall entre la càrrega d’un univers la codificació del qual ja li és llunyana però que necessita rememorar per assegurar el seu lloc al relat. La història d’un heroi que ja no exerceix com a tal, però que torna d’entre els morts per trobar un gest, l’últim probablement, que el segueixi fent partícip d’un gènere desgastat. És, en definitiva, la història de la culminació i la crisi de la imatge-moviment, perquè allò que li manca a aquest heroi, vulnerable i lliure al mateix temps, situat al marge però decisiu en el si de la comunitat, és justament la capacitat sensoriomotriu, l’element fundador de la imatge-acció amb la qual Gilles Deleuze troba en el western no casualment el gènere més privilegiat.

Abans de donar la paraula al cinema, abans fins i tot de prendre una posició sobre com abordar les imatges i la història que les travessa, Fran Benavente introdueix un concepte, el de «límit», indissociable d’un segon terme, el de «transgressió». Gilbert Durand, l’antropòleg de referència del volum, exploraria la reciprocitat entre els dos termes; per a ell, el límit comportaria una crisi doble: per la seva exageració, d’una banda, i per l’anul·lació de la seva identificació, de l’altra. Aquesta crisi marca, justament, el doble camí al qual ens menen les últimes imatges d’aquest estudi. Però, primer de tot, reprenem les qüestions de fons. De quina manera límit i transgressió es fan visibles en el western? Com ocupen un espai en el centre de l’escena? A quins

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Vol. VII Review comparative cinema No. 12 ARNAU VILARÓ MONCASÍ 2019 BENAVENTE, Fran. https://orcid.org/0000-0002-4698-8363 El héroe trágico en el western. El género y sus límites western esfaria càrrec d’aquest aspecte tràgic ielseurol podria un aspecto trágico» (p. 111). Elrostre del’heroi el queencarna cuestionamiento sobre ellímite, toda dudaontológica, muestra dialèctica? I, sobretot, desdequinlloc l’assumeix l’heroi? «Todo recursos sintàctics, plàstics inarratius desembocaaquesta estat profitós. Perquè, comenelfilmdeLang, l’infant de Fritz Lang, 1955) quanetzibava a Jeremy Fox quel’exercici havia petit John Mohune a manera,certa laconstatació d’allò queSerge Daney (a)prenia del per anar-se’n ferit –amorir– endirecció al’horitzó. Elfilmseria, en el seuheroi mentre aquest abandonaelterreny onhavia crescut Shane Clementine ( de convocar iqueafloren dedosfilms: apartir de l’heroi? Sónalgunes deles preguntes queBenavente nodeixa dinàmiques? Quèenquedadel’energia fundadora delmoviment manera l’heroi elreinterpreta? Comrecupera uncosles seves pertany aunpassat míticquenoméspot serevocat? Dequina al centre deladiscussiódelgènere. Quèsucceeixquanelgènere seva complexitat, posantelcosdel’heroi delwestern postclàssic cineastes iles constel·lacions entre filmsesdespleguen en tota la fantasma ilaresistència delvell espectador enelpresent, els no opera comunmoviment del’heroi, odelaresurrecció d’un el viatge deladesaparicióadeflagració quanlaviolència ja Sam Peckinpah, aMonte Hellmano Jim Jarmusch. Per entendre Tarantino; de John Ford aClintEastwood; deGeorge Stevens a ilatransgressió.al vincle entre ellímit DeSergio Leone aQuentin La discussióentre les imatges queconformen elvolum hodeutot principal d’ permeable entre lahistòria ilarepresentació onresideix l’ambició de laSegona Guerra Mundial. Ésenaquesta visiótransversal i de representació clàssicilaHistòria delcinemaabansidesprés explicar nonoméselsistema delwestern, sinótambéelmodel 10 i20, iel tenebrós, lliurat alamort, altemps destructor. L’autor imaginària: l’univers heroic diürn, propi delswesterns delsanys entre elqueDurand denominaelsdosàmbits d’influència exigeix lareconstitució delquadre, iésaleshores ques’escindeix col·locat enprimerpla. Aaquest heroi, segons Benavente, seli de vidènciaalacerca deltemps perdut: invocat comunfantasma l’acció comhofeia abans. l’heroi Heusaquí abocat auncinema en elsfilmsmésbellsdeHitchcock, l’heroi és incapaçdeprendre de l’heroi iquevol viure-la enprimera persona; però, alhora, com Joey Starrett, tambéésfilld’un cinemaquehaaprès l’aventura Shane arrenca desdelanostàlgia: delamirada d’un nenquecrida , George Stevens, 1953)i El héroetrágico enelwestern , John Ford, 1946). Los contrabandistas de Pasión delosfuertes .

Moonfleet Raíces profundas ( My Darling ( Moonfleet Shane , , 178

Vol. VII Review comparative cinema No. 12 ARNAU VILARÓ MONCASÍ 2019 BENAVENTE, Fran. https://orcid.org/0000-0002-4698-8363 El héroe trágico en el western. El género y sus límites Holliday alajove Clementine enlapenombra després del’ocàs. que coneixieshamort. Noenquedanielmenorvestigi, res», diu film hihaundiàleg prou significatiu queenshoindica: «L’home del Doctor Holliday (Victor Mature) a aborda aquesta frontera històrica demanera magistral apartir El últimorefugio Frank James de cabalgan juntos através deHenryFonda,aquí enl’obra posterior deFord – de l’heroi de que supera tota acciópossible. Laseqüènciaprefigura elgirtràgic un parèntesi enl’acció, ipertant, obrirles imatges aunasituació cinematogràfica per explicar queelcinema té lacapacitat decrear la posadaenescenadeFord transforma lateatralitat enforma Què anunciaelmonòleg? L’assumpció d’una paraula tràgica. Però l’espectador idel’actor alllarg delfamós monòleg de que, nocasualment, transcorre quanHolliday adopta elrol de el film–central tambéenaquest volum–, unmomentpregnant denomina «escenatràgica»; estracta d’un momentcentral en la tos tuberculosa, apareix enunaescenaclau queBenavente Holliday noalbira uncanvi. Laferida del’heroi, metaforitzada per Mentre queClementine estaria disposadaadesafiareldestí, dos caminspossibles: d’una banda, eldeles ruïnes ielbuitque westernià enelcinemaamericàdelsanys 70, Benavente dibuixa Baptiste Thoret, del’altra, alvoltant de lacontinuïtat del’heroi Resseguint elstreballs d’Astre iHoarau, d’una banda, ide Jean- límit.final enelquallatransgressió semblaengolir lanoció de consciència delseulímit. Elcinquècapítol desemboca, així, aun gènere enelquallaseva regeneració nomésté cabudaenprendre posa endiàleg perexplicar unmomentdecisiu delahistòria del Hawks, Howard Hughes, 1943) sónalguns delstítols quel’autor City ( Tierra deaudaces deundesequilibrioenelesquemaclásico»(p.«síntomas 174). del fantasma queatormenta laconcienciadelos personajes» són «la omnipresencia delamuerte comodestino yreencaje escénico genealogia peraaquest heroi iposardemanifest, ambella, que anàlisi queenfa Benavente, sorgeix lanecessitat depensarenuna De l’escena tràgica de conflicte d’un heroi, eldels50, essencialmenttràgic. s’enfrontava l’heroi delwestern èpicclàssicilainteriorització del entre les potències antitètiques bendefinides davant les quals mateix temps que anuncia unatransició històrica enelwestern: Liberty Valance a Union Pacific , Michael Curtiz, 1939)o Pasión delosfuertes , CecilB. DeMille, 1939), ( ( ( The Return of Frank James TwoRode Together, High Sierra ( ( The ManWhoShotLiberty Valance Jesse James My DarlingClementine El forajido , Raoul Walsh, 1941), , HenryKing, 1939), L , aixícomelseudesdoblament, 1961)o My DarlingClementine ( Dodge, ciudadsinley The Outlaw , Fritz Lang, 1940), El hombrequemató , idelaminuciosa Unión Pacífico Unión Pacífico , Howard a venganza , 1962)–, al Hamlet Dos Dos ( . Al . Al Dodge Dodge . 179

Vol. VII Review comparative cinema No. 12 ARNAU VILARÓ MONCASÍ 2019 BENAVENTE, Fran. https://orcid.org/0000-0002-4698-8363 El héroe trágico en el western. El género y sus límites Referències Cinema El héroe trágico enelwestern. Elgénero ysuslímites. Com citar GALLAGHER, Tag(2009). a laimatge-acció, carestracta d’un gest quenopermetarticular- originària delgènere ipotència portadora del’heroi, prèvia pertant film sembladescompondre’s; d’altra banda, enunaimatge-energia, tiroteo desemboquen enelno-res, comelquemarca l’insòlit finald’ demanar-nos unarevisió desdetots elsllocs possibles. i lamodernitat, l’espai d’una fissura quenodeixa d’obrir-se per que s’interessa perl’espai fronterer, limítrof, entre elclassicisme western després delaSegona Guerra Mundial. culminació, lacrisiiresistència delagran forma deHollywood llibre clau enlalectura delgènere, però sobretot, perentendre la llibre després desaber quehatrigat vuit anys alallum. a sortir Un profitós. quetambé Unaafirmació pot constatar el lector d’aquest dir,permès comhofeia John Mohune, quel’exercici haestat Tarantino, 2003). Laperspectiva ambquèarrenca l’assaig hauria cos del’heroi enlapostmodernitat, enelcasde de lloc quehapres latelevisió enladeconstrucció delwestern apartir desde elpresente», recorda Benavente, quenooblidatampocel que evidentemente tieneunagenealogía, sólo puedeentenderse del western ( la veu alamodernitat pertrobar unaresposta sobre les cendres modernitat ( de l’heroi crepuscular alafrontera entre elclassicismeila teòric iqueensmenenfinsalacontemporaneïtat: ala recuperació els doscaminsquel’autor deDurand anunciava apartir enelmarc transita cementerios enlos quenadahay (p. quefundar» 214). Són context «elhéroe es, definitivamente, unmuerto viviente que de se iqueesclata demanera simptomàtica, violent, comalfinal Perros depaja Deadwood ( , Vol. VII, No. 12, pp. 176-179. The Shooting s’inscriu, així, enlatradició d’una teoria cinematogràfica

VILARÓ MONCASÍ, Arnau(2019). Sin perdón Dead Man (David Milch, HBO, 2004-2006), olareanimació del ( Straw Dogs , Monte Hellman, 1966), sobre unaroca onel , Jim Jarmusch, 1995). «Todo este proceso, [ John Ford. El hombre ysucine. Unforgiven , SamPeckinpah, 1971). Enaquest , ClintEastwood, 1992]), adonar El héroetrágico enel BENAVENTE, Fran BENAVENTE, Kill Bill Comparative Comparative Madrid: Akal (Quentin . El Vol. VII comparative cinema Clara No. 12 2019 Santaolaya

DIDI-HUBERMAN, Georges. 180-183 Pueblos en lágrimas, pueblos en armas. El ojo de la historia, 6. Shangrila, Santander, 2017, 476 pp.

Fecha de recepción: 05/02/2018 Fecha de aceptación: 27/08/2018

«Los desdichados son las potencias de la tierra» Saint-Just

La primera pulsión al aproximarse a esta obra es entenderla como una continuación o yuxtaposición a Pueblos expuestos, pueblos figurantes (DIDI-HUBERMAN, 2014). Sin embargo, nos encontramos más bien ante un corolario, un énfasis de ciertas líneas de pensamiento que Didi-Huberman ya dejó apuntaladas en su obra anterior.

La opresión que ejerce la representación se asume aquí desde las primeras líneas, se da por sentada. La representación del pueblo sigue encarnando para Didi-Huberman una doble aporía, ya que el pueblo como unidad identitaria no existe en absoluto para él, sino mediante una representación hipostasiada que lo aboca, bien al sentido de identidad, que es ficticio y que exalta el populismo, o bien al de generalidad, que es inhallable.

El punto de partida de la obra nos posiciona frente a las lágrimas con las que los pueblos exponen su impotencia, manifiestan su impoder, generando un sufrimiento especular en el espectador. Se trata, por tanto, de una relación entre las emociones mismas y las imágenes que las vehiculan. Pero Didi-Huberman, fiel lector de Walter Benjamin y su contraposición entre aura y reproductibilidad técnica, considera que en la actual sociedad de masas la emociones están mediatizadas y tasadas. Unas lágrimas remplazan a otras, perdiendo toda su dignidad, su singularidad y

https://orcid.org/0000-0001-9941-3304 181

Vol. VII Review comparative cinema No. 12 CLARA SANTAOLAYA 2019 DIDI-HUBERMAN, Georges. https://orcid.org/0000-0001-9941-3304 Pueblos en lágrimas, pueblos en armas. El ojo de la historia, 6 el pueblo enlágrimas, supropia identidad, suvoz ysupoder, retornar aesosrostros desfigurados, subrepresentados en Por tanto, propone elviajequeDidi-Huberman esconseguir su fuerza colectiva. narra elnacimiento deunanueva naciónquesurge deldolor. Potemkin habladeunamuerte, pero deunamuerte vivificante, se torna denuncia, quemuypronto quedaacalladaporlarepresión. alzan en revolución. En Odesa, el dolor deviene acto, la lamentación puños quesecierran ensufrimiento ylamento rápidamente se clamando justicia mediante laimpotencia delaslágrimas. Los ante lainjusticia, elpueblo sereúne para suduelo, compartir Potemkin lamentación deOdesa pregnantes quele permitirán aseverar sutesis: laescenade nospresenta dondeDidi-Huberman Y lasimágenes esaquí Butler situabalasmanifestaciones populares ylasrevueltas. entre lo afectivo ylo efectivo, curiosamente, donde Judith allí exterior. Lavoluntad depodernietzscheana lasituaríaenclavija alaprofundidadpuerta interior, yalavez, unaaperturacrucial al La emociónesunmovimiento dialéctico fuera delsí, queabre una pasividad pretendida inicialmente. emancipadora, transformadora ycompletamente alejada dela definirse comoelpoderdeserafectado, mediante unainversión Este viraje le servirá para aseverar quelaemoción/pathos puede nos llevará deAristóteles aBergson, pasandoporSpinoza ySartre. ontología delaimagen. Elrecorrido emprende queDidi-Huberman una ontología delaemoción, ysurelación indisociable conuna Para ello, elsiguiente pasosugerido seríatratar derealizar revuelta, los pueblos enarmas. activando, así, lapuesta enpotencia mayor delos pueblos: la redunda depura intencionalidad expresiva, depura homogeneidad queda aplastado enelénfasis delgesto dellamento, cuya verdad ancianas deOdesalloran demanera unitaria, obvia. Elespectador que nosocupan. Barthes, en autor alos análisisquehaceRoland sobre Barthes lasimágenes Uno delos puntos másinteresantes delaobra eslacríticadel las lágrimasdevienen revolución. de lafractura delimpoder, dondeelpathos setorna praxis, donde Culmina, sinembargo, enunaapoteosis, unaauténtica celebración , 1925)deEisenstein. Unhombre hamuerto porrevelarse El acorazado Potemkin El tercersentido , objeta quelas ( Bronenosets 182

Vol. VII Review comparative cinema No. 12 CLARA SANTAOLAYA 2019 DIDI-HUBERMAN, Georges. https://orcid.org/0000-0001-9941-3304 Pueblos en lágrimas, pueblos en armas. El ojo de la historia, 6 en laretórica expresionista. pueblos están inmovilizados enlaretórica marxista, ysuslágrimas A ojosdeBarthes, Eisenstein comete doserrores significativos: sus ideológica y, portanto, carece devalor. rechaza laaversión deDeleuze porladialéctica, otorgándole a Llegando alfinaldel razonamiento propuesto, Didi-Huberman otorgabaHuberman ala emoción. al espectador fuera desí, capacidadque, recordemos, Didi- adquirir fuerza depensamiento yacción, yextraer violentamente desplazamiento brutal, explosivo, enelquepathos puede sus imágenes: elconcepto deéxtasis. Asaber, unproceso de de Eisenstein yelporqué delinterés en deDidi-Huberman Y aunconcepto clave llegamos para aquí entender lafilmografía Didi-Huberman, comoya ensudíalo fueron para Eisenstein. enunciable) yelconflicto se revelan, eneste punto, cruciales para el director ruso, laforma dehacerelpathos transmisible y Para lograr producir esta disonancia, el montaje, elcorte(para hacedoras delaHistoria. en los hechos objetivos, quelasemocionestambiénson afirma ni solo unconstructo lírico. Laobra trata deintroducir unpathos Potemkin Eisenstein creía, yconélDidi-Huberman, quelaparadoja del encuentra unapuesta enforma dialéctica delpathos comunitario. está impotente, ya que, ensullamadoalasarmas, suemoción las barreras delyo (p. 172). Para él, elpueblo deEisenstein no emociones lasquehacenexplotar lasfronteras delmíyquebrar Didi-Huberman, porsuparte, defiende quesonprecisamente las discursos cómplices. tanto histeria, ydemasiadologos, entanto ideaspreestablecidas y de todos los gestos emancipatorios (p. 406). ojos, ya que lasimágenes sabenserelvehículo delasupervivencia sublevarse sobrevivirá yrenacerá incontablemente ante nuestros repita ysecontradiga altiempo. Esedoble gesto delamentarse y antes sellevaban alpecho, queelmotivo permitiendo gestual se arrancándose laspañoletas yalzandolos mismospuñosque lloran depena, de dolor, depiedad, pero alavez lloran decólera, pueblos. Las sollozantes deOdesa lloran dialécticamente, porque esta lacategoría deimprescindible enlarepresentación delos era supretensión desernisolo unacrónica histórica, Potemkin tienedemasiadopathos, en 183

Vol. VII Review comparative cinema No. 12 CLARA SANTAOLAYA 2019 DIDI-HUBERMAN, Georges. https://orcid.org/0000-0001-9941-3304 Pueblos en lágrimas, pueblos en armas. El ojo de la historia, 6 figurantes. DIDI-HUBERMAN, Georges (2014). Referencias parative Cinema parative Pueblos enlágrimas, pueblos enarmas. Elojodela historia, 6 Cómo citar objeto de la imagen (que aúna en sí mismaestética,objeto delaimagen (queaúna ensí antropología, través desurepresentación enlágrimas. Ya queladignidadcomo visto anteriormente conelsentidodedignidadlos pueblos a El autor cierra sureflexión conunapuesta en relación de todo lo de unarepresentación justa alos la sendabenjaminianadetradición delos oprimidosydotando los pueblos deconfigurar unporvenir autodeterminado, siguiendo social ycultural. Pudiendo, así, lamemoriayeldeseode afirmar emociones podremos remitirlas asumediodeapariciónhistórico, la figuración de los pueblos, ydefiende quesolo aldialectizar las realizaDidi-Huberman conesta obra unalectura acontrapelo de exponerse yrepresentarse hasta ensuimpoder. permite restituir alosética pueblos ypolítica) elderecho a Buenos Aires: Ediciones Manantial.

SANTAOLAYA, Clara (2019). , Vol. VII, No. 12, pp. 180-183. Pueblos expuestos, pueblos sin-nombre DIDI-HUBERMAN, Georges. DIDI-HUBERMAN, delaHistoria. . Com -

Vol. VII comparative cinema Annalisa No. 12 2019 Mirizio

FILLOL, Santiago. 184-187 Historias de la desaparición. El cine desde Franz Kafka, Jacques Tourneur y David Lynch. Shangrila, Santander, 2016, 302 pp.

Fecha de recepción: 11/05/2018 Fecha de aceptación: 23/05/2018

Casi al final de su estudio, el autor deHistorias de la desaparición… recuerda que Gian Lorenzo Bernini «robaba mármoles entre las ruinas del antiguo imperio romano para levantar las nuevas esculturas del renacimiento tardío» (p. 264). No sé si sea cierta esta práctica del escultor italiano que evidentemente hizo de la necesidad virtud, pero sí sé que en ese gesto encuentro la perfecta metáfora de una escritura que se alimenta de la circulación de nociones y paradigmas críticos diversos para tomar nuevo impulso.

Se puede pensar al texto de Santiago Fillol como a una extensa muestra de esta escritura donde el análisis del fuera de campo, procedimiento figurativo propio (aunque no exclusivo) de la representación cinematográfica, se sustenta en una constelación de textos y conceptos que cosen tradiciones teóricas distintas para producir una perspectiva crítica tanto inesperada como rigurosa.

El texto, diría, puede leerse a partir de tres ejes: el primero es el análisis teórico, atento y preciso del fuera de campo como procedimiento figurativo. Tomando como punto de partida la estructura de la persecución, el autor muestra cómo ya en el cine de Jacques Tourneur –concretamente desde La mujer pantera (Cat people, 1941)– el modelo clásico se ha desgarrado: Alice, la mujer perseguida, ha perdido al perseguidor, así que el modelo ha quedado hueco y carente del sujeto que debía sustentar el sentido de la acción; es más, en los extraños usos del fuera de campo

http://orcid.org/0000-0002-1750-6185 185

Vol. VII Review comparative cinema No. 12 ANNALISA MIRIZIO 2019 FILLOL, Santiago. http://orcid.org/0000-0002-1750-6185 Historias de la desaparición. El cine desde Franz Kafka, Jacques Tourneur y David Lynch tourneuriana promueve una«continuidadenlasuspensión» El estudio prosigue conelanálisisdecómolapropuesta presente” que practica Tourneur, explica Fillol, «algo solo puede “hacerse paraíso, sinolalógica delexterminio» (p. 235). que lafiguración desus desaparicionesdestella, noalumbra un según Fillol, enelhecho dequeensusimágenes «laprefiguración afinidad entre dosdirectores (Tourneur y Lynch) quesesustenta, reverberación enelplanodelfuera decampo, seapara analizarla el cinedeLynch comounlugarprivilegiado dondeestudiar la la interpretación figural deErich Auerbach, seapara plantear enunciada lacentralidad quehatenido enlalaborcríticadeFillol Aparece aquí, enlaúltimaparte deltexto, explícitamente histórico yque«susdesaparecidos tienenunaHistoria» (p. 276). el desgarro enlaestructura clásicadelapersecución estambién contemporáneo que, despuésdelaShoah, sabeperfectamente que el fuera decamposeconvierte enfigura del terror enelmundo ensayo encuentra laculminacióndelgiro tourneuriano; donde Es, sinembargo, enelcinedeDavid Lynch dondeelautor deeste cuerpos (p. 107). 1960), hacequeesta ausencia reverbere enotras imágenes yotros (como eselcasodeAnnaen que, ademásdepromover lassalidasdecampolos personajes Bresson (p. 101); obienpracticando un«flirteo conlaabstracción» para dejarnos “sentir” laimagen ensubruto suceder», comohizo de Ozu(p. 91); obienliberando elplano«desusamarres causales manifestación temporal delaausencia», comoocurre enelcine ser unespacioqueseñalaalgo ausente para pasara«seruna usos clásicosdelfuera decampo: obienhaciendoquedejara de insistiendo deforma diferente sobre laduración, disolvieron los y Michelangelo Antonioni. Todos ellos, demanera diversa e concretamente enelcinede Yasujirō Ozu, Robert Bresson en variasoperaciones des-narrativas delamodernidad: construcción deunamirada críticaquequiere serdialéctica y pero esta vez noesla historia deunprocedimiento sinolade Se trata deunejeque tambiénpuededefinirse comounahistoria segundo ejequeestructura este estudio. el aparato hemenéuticodelcineybuenamuestra deello esel cognoscibilidad delaimagen– decómoprocede Fillol para renovar no tanto sobre elaura comomásbiensobre lalegibilidad y –al quedeberíaañadirse deWalter laaportación Benjamin, Este recurso almétodo figural de Auerbach estansolo unejemplo desde esaimagen quenovemos» (p. 64). La aventura [ L’Avventura ] deAntonioni, 186

Vol. VII Review comparative cinema No. 12 ANNALISA MIRIZIO 2019 FILLOL, Santiago. http://orcid.org/0000-0002-1750-6185 Historias de la desaparición. El cine desde Franz Kafka, Jacques Tourneur y David Lynch autor– hevisto elcinedeDavid Lynch antes quelasimágenes de del volumen) comode las divisionesdisciplinarias: «Yo –escribeel emancipa tanto delacronología (recuperada despuéseneltítulo Se trata deunahistoria enlaqueelorden delareflexión se dual, comopara ser elfilólogotoda interpretación. alemán debía cinematográfico enlaescritura del autor de de lateoría fílmica? derevelar Nosetrata undiseño aquí ¿qué ocurre sileemos a Kafka desdeelaparato hermenéutico de Lynch, elautor de adaptado laobra deKafka osobre elcarácter algunas obras. Por ello, lejos dedetenerse sobre cómoelcineha cómo opera mecanismofigurativo» unparticular (p. 224)en sumar interpretaciones, nidescifrar misterios; le interesa «ver Sin embargo, comoya recordamos, aSantiago Fillol nole interesa desulógica» (pp.que «participan 161-170). momento» enlaquelasimágenes no«representan elhorror» sino «un tipodedesaparicióncompletamente desconocido hasta el de sucumbiraldeseoclásicolalegibilidad; ambosconstruyen el estatuto deininteligibilidad delasecuenciaodelrelato enlugar entre Tourneur yFranz Kafka: comorecuerda Fillol, ambosaceptan (Tourneur yLynch) sinotambiéninterartísticas, concretamente o, quizáconcomitancias, nosolo internas alahistoria delcine practica elautor le permite conjeturar acerca deotras afinidades Por otro lado, esta lectura desdeuna “biblioteca mixta” que acertadamente Gonzalo Aguilar (2015). ineludible delacríticacontemporánea, comohadefendido conceptual para interrogarlo. Noesalgo insólito sinounacondición la interrogación delartefacto vapareja alarenovación delarsenal «remontaje histórico» –comolo define elmismoFillol– enelque 221). Así, este texto tambiénpuedeleerse comolacrónica deun (pp.las queesemecanismosehaconsumadoconalevosía» 220- Tourneur porque lo re-conozco desdeunasimágenes [deLynch] en formación deunsingular mecanismofigurativo enlasimágenes de Tourneur. […]creo poderobservarconmayor atención elproceso de y alquenoshemosreferido alprincipio: setrata deunnuevo esto nospermite mencionareltercer ejequesustenta este trabajo es hoy endíainseparable delo queaprendimos a ver conelcine. Y cambiado nuestra mirada crítica, cómonuestra práctica lectora Fillol muestra así, conlaevidencia yelrigor desutrabajo, cómoha estaba jugandoenestas imágenes?» (p. 166). O, mejor, ¿quéproceso, quémecanismodepuesta enescenase imágenes estaba forjando Kafka enestos pasajes [ sino deplantear asustextos nuevas preguntas: «¿Qué tipo de Historias deladesaparición… La transformación kafkiano El castillo se pregunta delcine ]? ]? , 187

Vol. VII Review comparative cinema No. 12 ANNALISA MIRIZIO 2019 FILLOL, Santiago. http://orcid.org/0000-0002-1750-6185 Historias de la desaparición. El cine desde Franz Kafka, Jacques Tourneur y David Lynch políticas delcine. Referencias Lynch. la desaparición. ElcinedesdeFranz Kafka, Jacques Tourneur yDavid Cómo citar desaparición… literario sinoreleerlo desdelo cinematográfico. distintas yquepermite alautor nosolo incluirensuestudio lo nociones, paradigmas provenientes detradiciones teóricas abordaje críticoquesealimentadelacirculación depreguntas, como constitutiva dela mirada críticacontemporánea. interartístico enlaqueexperiencia delaimagen se contempla AGUILAR, Gonzalo (2015). Comparative Cinema Comparative

MIRIZIO, Annalisa(2019). apunta así haciaunanueva etapa delcomparatismo apuntaasí México: Fondo deCultura Económica. , Vol. VII, No. 12, pp. 184-187. Más alládelpueblo. Imágenes, indicios y FILLOL, Santiago. FILLOL, Historias dela

Historias de 5-6 Jordi Balló & Ivan Pintor Iconographies in the public sphere. Fiction devices in the representation of power

7-21 Victoria Cirlot The pathos formulae and their survival

22-37 Luis Vives-Ferrándiz Sánchez Pathos in Catalonia: the politics of images in the era of memes

38-52 Isabelle Freda Screening Power: Harry Truman and the Nuclear Leviathan

53-68 Joan Miquel Gual Ruins. A visual motif of the Spanish real estate crisis

69-90 Mercè Oliva The political relevance of “almost trivial-looking things”. An interview with Theo van Leeuwen

91-123 Documents

91-97 Pier Paolo Pasolini The Power Vaccum in Italy

98-105 Harun Farocki Harun Farocki: On Display: Peter Weiss A Production Dossier

106-123 Hito Steyerl in conversation with João Fernandes Art, a Test Site

124-127 Arnau Vilaró Moncasí BENAVENTE, Fran. El héroe trágico en el western. El género y sus límites. Athenaica, Sevilla, 2017, 356 p.

128-131 Clara Santaolaya DIDI-HUBERMAN, Georges. Pueblos en lágrimas, pueblos en armas. El ojo de la historia, 6. Shangrila, Santander, 2017, 476 p.

132-135 Annalisa Mirizio FILLOL, Santiago. Historias de la desaparición. El cine desde Franz Kafka, Jacques Tourneur y David Lynch. Shangrila, Santander, 2016, 302 p.

136 Original Texts

www.upf.edu/comparativecinema

Comparative Cinema, Volume 7, No. 12, «Iconographies in the public sphere. Fiction devices in the representation of power», Barcelona, 2019.

Legal Deposit: B.29702-2012 ISSN: 2014-8933