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000089801 005__ 20220426091135.0
000089801 0247_ $$2doi$$a10.1177/1367549420919860
000089801 0248_ $$2sideral$$a118242
000089801 037__ $$aART-2020-118242
000089801 041__ $$aeng
000089801 100__ $$0(orcid)0000-0001-8197-1199$$aOliete-Aldea, E.$$uUniversidad de Zaragoza
000089801 245__ $$aTransnational representation of a gendered recession in corporate dramas
000089801 260__ $$c2020
000089801 5060_ $$aAccess copy available to the general public$$fUnrestricted
000089801 5203_ $$aThe cinematic depiction of the financial crisis has centred on the explanation of the causes and consequences of the global recessionary scenario in which gender acquires special relevance. My aim in this article is to carry out a hitherto unaddressed transnational analysis of corporate dramas. More specifically, I elicit the commonalities as well as local specificities that different Western cinematographies show when tackling gendered recessionary discourses on ‘mancession’ and ‘austerity’. Films such as The Last Days of Lehman Brothers (Samuels, 2009, BBC), Money Never Sleeps (Stone, 2010), The Company Men (J. Wells, 2010) and The Big Short (McKay, 2015) have, on the one hand, aligned with nostalgic and retro-sexist discourses by focusing on male suffering to confront the recession while relegating female characters as emotional companions of the male hero. On the other hand, the representation of female characters in these films has also put to the test the inconsistencies of neoliberal discourses when analysed from the perspective of genre. To illustrate the transnational dimension of the ‘narrated’ impact of the ‘Global Financial Crisis’ in different scenarios, I compare a US Wall Street film and a Spanish corporate drama of the Great Recession: Margin Call (J Chandor, 2011, USA) and The Tip of the Iceberg (La punta del iceberg, D Cánovas, 2016, Spain).
000089801 536__ $$9info:eu-repo/grantAgreement/ES/DGA/H12$$9info:eu-repo/grantAgreement/ES/MINECO-FEDER/FFI2017-82312-P$$9info:eu-repo/grantAgreement/ES/UZ/JIUZ-2017-HUM-02
000089801 540__ $$9info:eu-repo/semantics/openAccess$$aby-nc-nd$$uhttp://creativecommons.org/licenses/by-nc-nd/3.0/es/
000089801 590__ $$a1.52$$b2020
000089801 591__ $$aCULTURAL STUDIES$$b14 / 45 = 0.311$$c2020$$dQ2$$eT1
000089801 592__ $$a0.834$$b2020
000089801 593__ $$aArts and Humanities (miscellaneous)$$c2020$$dQ1
000089801 593__ $$aEducation$$c2020$$dQ1
000089801 593__ $$aCultural Studies$$c2020$$dQ1
000089801 655_4 $$ainfo:eu-repo/semantics/article$$vinfo:eu-repo/semantics/publishedVersion
000089801 7102_ $$13004$$2345$$aUniversidad de Zaragoza$$bDpto. Filolog.Inglesa y Alema.$$cÁrea Filología Inglesa
000089801 773__ $$g24, 2 (2020), 514-529$$pEUROPEAN JOURNAL OF CULTURAL STUDIES$$tEuropean Journal of Cultural Studies$$x1367-5494
000089801 8564_ $$s169403$$uhttps://zaguan.unizar.es/record/89801/files/texto_completo.pdf$$yVersión publicada
000089801 8564_ $$s22227$$uhttps://zaguan.unizar.es/record/89801/files/texto_completo.jpg?subformat=icon$$xicon$$yVersión publicada
000089801 909CO $$ooai:zaguan.unizar.es:89801$$particulos$$pdriver
000089801 951__ $$a2022-04-26-08:53:18
000089801 980__ $$aARTICLE