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Iconographies in the Public Sphere. Fiction Devices in the Representation of Power», Barcelona, 2019

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Iconographies in the Public Sphere. Fiction Devices in the Representation of Power», Barcelona, 2019 Vol. VI Núm 11 ISSN: 2014-8933 Vol.2018 VII comparative cinema No. 12 2019 of power the representation in devices Fiction the publicsphere. in Iconographies 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 In his book Farewell to an example, there is no need for the Idea: Episodes from a History of aforementioned motif of the Pietà Modernism (1999), Timothy J. Clark to directly refer to the works of devotes a chapter, titled “Painting Michelangelo and Bellini or to the in the Year 2”, to the most famous death of the character of Pina canvas from the French Revolution, in the feature film Rome, Open The Death of Marat (1793), by City (Roma città aperta, 1945), comparative cinema comparative Jacques-Louis David, which he by Roberto Rossellini, in order presents as the first great work for it to be the means by which of modernity. In Clark’s view, what contemporary photojournalism singles this painting out is the way singles out the particular drama in which the “conjuncture” – the at the heart of a collective tragedy. historical framework – enters the Nevertheless, it is revealing to pictorial process and completely realize that the figure of the takes it over, at the risk of nullifying leader walking alone towards his any references to the past. Carlo investiture, from Barack Obama Ginzburg, as a response and to Vladimir Putin, seems to evoke, discussion of this statement, time and again, the solitary steps in his book Paura, Reverenza, of Young Mr. Lincoln (1939), by John Terrore. Cinque saggi di iconografía Ford, and the canvases of Andrew politica, has attempted to show Wyeth, or that in certain gestures in that in every image the pertinent photographs of the May ‘68 events political framework coexists in France or contemporary police alongside a historical, religious charges, the formulae of archaic 5 and iconographic background pathos reverberate. that mediates the emotional content and the codes by which With the aim of delimiting a power is expressed. According field of studies of extraordinary to Ginzburg, what makes David’s potentiality (namely that of the canvas extraordinary is precisely iconology and iconography of the fact that the figure of Marat has the images through which power been invested with the Christian is represented in the public attributes of martyrdom. How many sphere, and viewed as a space times have we seen, throughout the for negotiation between agents history of cinema, the dead body on which the cinematographic and the fallen arm of a character, in tradition has had a fundamental the very image of Marat and Christ, impact), this monographic issue as the unmistakable sign of a of Comparative Cinema tackles character’s dramatic and expiatory the study of visual motifs from death? positions related to the tradition which, from Aby Warburg to However, just as painting used Georges Didi-Huberman, Carlo to be, cinema is not only a space Ginzburg and Horst
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