000145655 001__ 145655 000145655 005__ 20241114112316.0 000145655 0247_ $$2doi$$a10.1386/ncin_00031_1 000145655 0248_ $$2sideral$$a140538 000145655 037__ $$aART-2022-140538 000145655 041__ $$aeng 000145655 100__ $$0(orcid)0000-0002-3601-6560$$aBuesa, Andrés$$uUniversidad de Zaragoza 000145655 245__ $$a‘Where is here?’: Place and rurality through the cinematic child 000145655 260__ $$c2022 000145655 5060_ $$aAccess copy available to the general public$$fUnrestricted 000145655 5203_ $$aThis article explores the ways in which Alice Rohrwacher’s Le maraviglie, as exemplary of a growing tendency within contemporary cinema, negotiates ideas of place and belonging through the trope of the rural child. It contends that the cinematic child in the film articulates a dynamic and open – rather than static, localized and fixed – understanding of place. Against the Romantic tendency to associate childhood and nature as a way of grounding essentialist ideas of place, the film draws on children’s heightened openness to the others in order to embody what Doreen Massey calls a global sense of place (1991): a sense of place built upon the social relations created in the encounter with the other. By bringing together film analysis, childhood studies and theorizations of place, this article builds an interdisciplinary approach to look into this shifting use of the child figure. It first explores two different reactions to the threats of the global presented in the film – the family’s mode of living and the reality TV show contest – as reterritorializing attempts to ground a sense of place in the local. It then argues that, in the way in which the child protagonist bonds with a newcomer to the farm, she rejects both these notions and opens herself up to alternative understandings of place. In a gradual recovery of her childhood that culminates in the last scene of the film, she comes to embody a progressive sense of place that emphasizes the hybrid nature of global places. 000145655 536__ $$9info:eu-repo/grantAgreement/ES/DGA/H23-20R$$9info:eu-repo/grantAgreement/ES/MCIU/FPU19-03436$$9info:eu-repo/grantAgreement/ES/MICINN/PID2021-123836NB-I00 000145655 540__ $$9info:eu-repo/semantics/openAccess$$aAll rights reserved$$uhttp://www.europeana.eu/rights/rr-f/ 000145655 592__ $$a0.11$$b2022 000145655 593__ $$aVisual Arts and Performing Arts$$c2022$$dQ3 000145655 593__ $$aCommunication$$c2022$$dQ4 000145655 655_4 $$ainfo:eu-repo/semantics/article$$vinfo:eu-repo/semantics/acceptedVersion 000145655 7102_ $$13004$$2345$$aUniversidad de Zaragoza$$bDpto. Filolog.Inglesa y Alema.$$cÁrea Filología Inglesa 000145655 773__ $$g20, 1 (2022), 21-33$$tNew Cinemas$$x1474-2756 000145655 8564_ $$s136386$$uhttps://zaguan.unizar.es/record/145655/files/texto_completo.pdf$$yPostprint 000145655 8564_ $$s1308720$$uhttps://zaguan.unizar.es/record/145655/files/texto_completo.jpg?subformat=icon$$xicon$$yPostprint 000145655 909CO $$ooai:zaguan.unizar.es:145655$$particulos$$pdriver 000145655 951__ $$a2024-11-14-10:18:49 000145655 980__ $$aARTICLE