This article maps an emerging engagement with intersections amongst gender, voice/sound and feminism in the context of contemporary Spanish audio-visual cultural production. I locate the voice at the nexus of contemporary feminisms as these manifest through popular, public and theoretical means. Taking two recent internationally successful Spanish series (Vis a vis [Locked Up] and La casa de papel [Money Heist]) as examples, I contend that female voices and their treatment within contemporary Spanish audio-visual cultures constitute an important site within which female subjectivities emerge and are claimed. I analyse the importance of gender representations on- and off-screen in these works and attend to the use of music and voice-over in these shows as exemplifying the contradictory character of the voice within contemporary feminisms, both in and beyond Spain.
Review of: The Cinema of Lucrecia Martel, Deborah Martin (2016)
Manchester: Manchester University Press, 160 pp.,
ISBN 978-0-71909-034-9, h/bk, £80.00
ISBN 978-1-52613-942-9, p/bk, £20.00
ISBN 978-1-78499-792-2, e-book, £18.24
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