000162935 001__ 162935
000162935 005__ 20251017144629.0
000162935 0247_ $$2doi$$a10.1386/slac_00128_1
000162935 0248_ $$2sideral$$a145436
000162935 037__ $$aART-2024-145436
000162935 041__ $$aeng
000162935 100__ $$0(orcid)0000-0002-6140-0660$$aLuzón Aguado, Virginia$$uUniversidad de Zaragoza
000162935 245__ $$aOn dangerous ground: Landscape, gender and genre in La isla mínima/Marshland (Rodríguez 2014)
000162935 260__ $$c2024
000162935 5060_ $$aAccess copy available to the general public$$fUnrestricted
000162935 5203_ $$aLa isla mínima/Marshland (Rodríguez 2014) stands as the most successful feature by acclaimed Sevillian director Alberto Rodríguez to date. Rodríguez and other directors of his generation have been considered responsible for the resurgence in popularity of Spanish cinema at the box office in recent years, which to a large extent derives from their transnational artistic influences. Undeniably, the Hollywood film tradition has inspired much of their work, whether in terms of their ‘glocal’ use of popular genres, such as the thriller, or their characteristic cinematic style. In La isla mínima, the Hollywood influence is manifest but the reason for its national and transnational success should also be located elsewhere. Apart from its indigenized use of genre, what seems to have made La isla mínima particularly interesting to a broad spectrum of the audience is its remarkable use of the local landscape, which also situates the film in classic art-house territory. This article will therefore consider Rodríguez’s symbolic use of rural space in a narrative in which international art-house cinema conventions and Hollywood’s global generic influence intermingle with local geographical, historical and social elements in order to produce a story with a broad national and transnational appeal. While the film’s investment in the national is evident, this feminist reading of the film will also contend that La isla mínima’s take on such issues as misogyny and femicide contributed significantly to its transnational legibility.
000162935 536__ $$9info:eu-repo/grantAgreement/ES/DGA/H23-23R$$9info:eu-repo/grantAgreement/ES/MINECO/FFI2013-40769-P
000162935 540__ $$9info:eu-repo/semantics/openAccess$$aby-nc-nd$$uhttps://creativecommons.org/licenses/by-nc-nd/4.0/deed.es
000162935 592__ $$a0.105$$b2024
000162935 593__ $$aVisual Arts and Performing Arts$$c2024$$dQ3
000162935 593__ $$aMultidisciplinary$$c2024$$dQ4
000162935 593__ $$aCommunication$$c2024$$dQ4
000162935 593__ $$aCultural Studies$$c2024$$dQ4
000162935 655_4 $$ainfo:eu-repo/semantics/article$$vinfo:eu-repo/semantics/publishedVersion
000162935 7102_ $$13004$$2345$$aUniversidad de Zaragoza$$bDpto. Filolog.Inglesa y Alema.$$cÁrea Filología Inglesa
000162935 773__ $$g21, 1 (2024), 81-98$$tSTUDIES IN SPANISH & LATIN AMERICAN CINEMAS$$x2050-4837
000162935 8564_ $$s1679226$$uhttps://zaguan.unizar.es/record/162935/files/texto_completo.pdf$$yVersión publicada
000162935 8564_ $$s1402380$$uhttps://zaguan.unizar.es/record/162935/files/texto_completo.jpg?subformat=icon$$xicon$$yVersión publicada
000162935 909CO $$ooai:zaguan.unizar.es:162935$$particulos$$pdriver
000162935 951__ $$a2025-10-17-14:25:33
000162935 980__ $$aARTICLE