This thesis focuses on four women-directed films as a way to illustrate some characteristics shared by the new Catalan creative documentary: El cielo gira ( The Sky Turns, dir. Mercedes Álvarez, 2004), Nedar (Swim, dir. Carla Subirana, 2008), La plaga (The Plague, dir. Neus Ballús, 2013), and Penèlope (Penelope, dir. Eva Vila, 2018). My aim is to highlight their alternative cinematographic strategies, which stray from the hegemonic discourses of documentary filmmaking. In so doing, I analyze these films from three different angles: the relationship between the filmmaker and the material world; the alternative modalities of time; and the haptic connection between the spectator and the screen. Instead of preparing a traditional thesis in manuscript form, I engage with these films through a video-essay, the most appropriate mode of academic rhetoric and presentation to address this topic (Keathley 190). Entitled Cinema “Turns”: Catalan Creative Documentary, my video-essay articulates my study into three parts: in the first part, I analyze the limits of the realist discourse; in the second, I focus on how these films approach temporality; and in the third, I address their haptic visuality.
To view the accompanying video essay, please download the additional file below.
| Identifer | oai:union.ndltd.org:UMASS/oai:scholarworks.umass.edu:masters_theses_2-1940 |
| Date | 15 July 2020 |
| Creators | Sainz Delgado, Celia |
| Publisher | ScholarWorks@UMass Amherst |
| Source Sets | University of Massachusetts, Amherst |
| Detected Language | English |
| Type | text |
| Format | application/pdf |
| Source | Masters Theses |
| Rights | http://creativecommons.org/licenses/by/4.0/ |
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