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|a (JST)24757786
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|a eng
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|a Leal, Andrés Bartolomé
|e verfasserin
|4 aut
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|a Strangers in a Strange Land: Cinema, Identity and the Modern Nation-State in Roman Polanski's "The Ghost Writer" / Forasteros en tierra extraña: cine, identidad y el estado-nación moderno en "The Ghost Writer" de Roman Polanski
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|c 2015
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|a Cinema and the modern nation-state, both key offsprings of the late stages of the nineteenth century, have had a somewhat parallel, and arguably problematic, relationship throughout their existence. From being a committed partner in the spreading of the traditions and identities that cemented the formation of modern nation-states, cinema has become one of the most prolific media for the contestation of many of the fixities that sustain them. My aim in this article is, first, to explore the reasons and phenomena behind this change of perspective and, second, to apply this analysis to the specific case of Roman Polanski's film The Ghost Writer (2010). For this purpose, I will analyse the film from a transnational perspective at different levels, exploring its portrayal of the decayed condition of the modern nation-state, its depiction of the exiled foreigner as a universal trope for contemporary identities, and its careful use of space and mise-en-scène for the transmission of these meanings. El cine y el estado-nación modernos, ambos frutos de las últimas etapas del siglo XIX, han mantenido una relación paralela, pero ciertamente problemática, durante su existencia. Otrora un medio comprometido con la diseminación de las tradiciones e identidades que cimentaron la formación del estado moderno, el cine ha pasado a ser uno de los canales más fértiles para la contestación de las certidumbres que los sostenían. Mi objetivo en este artículo es, primero, analizar las razones y fenómenos que han dado lugar a este cambio ideológico y, segundo, aplicarlos al caso específico de la película de Roman Polanski The Ghost Writer (2010). Para ello, analizaré la película a diferentes niveles desde un punto de vista transnacional, explorando su representación de la descomposición del estado-nación moderno, su percepción del exiliado como un tropo universal para las identidades contemporáneas y su meticuloso uso del espacio fílmico para la transmisión de estos significados.
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|a © Asociación Española de Estudios Anglo-Norteamericanos (AEDEAN)
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|a Economics
|x Economic disciplines
|x Labor economics
|x Employment
|x Occupations
|x Artists
|x Writers
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|a Behavioral sciences
|x Anthropology
|x Applied anthropology
|x Cultural anthropology
|x Cultural studies
|x Film studies
|x Movies
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|a Behavioral sciences
|x Psychology
|x Social psychology
|x Group identity
|x Political identity
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|a Social sciences
|x Human geography
|x Political geography
|x Countries
|x Nation states
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|a Behavioral sciences
|x Anthropology
|x Ethnology
|x Ethnic groups
|x White people
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|a Law
|x Criminal law
|x Criminal justice
|x Criminal punishment
|x Exile
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|a Physical sciences
|x Earth sciences
|x Geography
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|a Business
|x Industry
|x Industrial sectors
|x Cultural industries
|x Entertainment industries
|x Motion picture industry
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|a Arts
|x Applied arts
|x Architecture
|x Buildings
|x Residential buildings
|x Houses
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|a Arts
|x Visual arts
|x Graphic arts
|x Image editing
|x Film editing
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|a research-article
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|i Enthalten in
|t Atlantis
|d AEDEAN: Asociación española de estudios anglo-americanos
|g 37(2015), 2, Seite 119-136
|w (DE-627)47946605X
|w (DE-600)2176939-4
|x 19896840
|7 nnas
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|g volume:37
|g year:2015
|g number:2
|g pages:119-136
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|u https://www.jstor.org/stable/24757786
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|d 37
|j 2015
|e 2
|h 119-136
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