Recursos para expresar conflictos de identidad de género en tiempos de censura: El caso de “Mi querida señorita”, de Jayme Armiñán (1971)=Narrative resources to express gender identity conflicts in times of censorship. The case of Mi Querida Señorita, by Jaime de Armiñán (1971)

<p align="left"><strong>Resumen</strong></p><p>En los años finales de la censura franquista se estrenó una película, <em>Mi querida señorita</em>, de Jaime de Armiñán, que a pesar de tocar un tema tabú en aquello momentos, como era el cambio de sexo de una persona de 43 años, logró sortear los mecanismos censores. Esta primera película española sobre la transexualidad y la intersexualidad contó con unos recursos narrativos que le permitieron llegar al público sin llamar la atención de la censura. Un fino simbolismo, una inteligente utilización de las elipsis, un montaje preciso, y una incorporación audaz de la extradiégesis permitieron trasladar a la sociedad mensajes adelantados a su tiempo, llenos de novedad y carga crítica.</p><p align="left"><strong>Abstract</strong></p><p>In the final years of Franco's censorship, a film was released, <em>Mi querida Señorita</em>, by Jaime de Armiñán, despite touching a taboo subject in that time, such as the gender transition of a 43-year-old person, managed to overcome the censorship mechanisms. The first Spanish film about transsexuality and intersexuality had narrative resources that allowed it to reach the public without drawing attention of censorship. A fine symbolism, an intelligent use of the ellipsis, an accurate edition and a bold incorporation of extradiegesis allowed to convey to society messages ahead of their time, full of novelty and critical load.</p>

The Two cines con niño: Genre and the Child Protagonist in Over Fifty Years of Spanish Film (1955–2010), Erin Hogan (2018)

Review of: The Two cines con niño: Genre and the Child Protagonist in Over Fifty Years of Spanish Film (1955–2010), Erin Hogan (2018) Edinburgh: Edinburgh University Press, 236 pp., ISBN 978-1-47443-611-3, h/bk, £75.00 and p/bk, £19.99

IMMERSIVE TECHNOLOGIES OF J. VAL DEL OMAR’S MEDIA ART (“APANORAMIC IMAGE OVERFLOW”, “DIAPHONY”, “TACTILE VISION”) AS AN EXPRESSION OF HIS CONCEPT OF “MECHANICAL MYSTICISM”

The article analyzes three media technologies for creating an immersive polysensory environment, developed back in 1940–1960s by the Spanish film director and engineer Jose Val del Omar. The technologies are considered in the context of the director’s key concept, which he called “mechanical mysticism”. It was aimed at creating a cinematic analogy of mystical experience by transforming the mysticism of Spanish culture into cinematic technologies. The author reveals how the conversion of the suggestive artistic potential of Spanish mysticism into the immersiveness of film technologies allowed J. Val del Omar to create art spaces that took the system of illusions beyond the visual into special modes of psychological experiences. On the example of his films (Water- Mirror of Granada, 1955, and Fire in Castile, 1961), the author analyzes the originality of the engineering solutions of J. Val del Omar’s technologies, defines the strategies of immersiveness and their rootedness in Spanish mysticism, qualifies the aesthetic impact of these media technologies on viewers. The article demonstrates that immersiveness is achieved by using a shock strategy of interlacing the effects of suggestiveness and defamiliarization (“ostranenie”), as well as through the expansion of the range of the viewer’s sensory perception and the effect of synesthesia. The suggestive impression effect is enhanced by visual poetic metaphors that reveal to the viewers the historically formed sensual imagery of Spanish mysticism. With the help of optical and light technologies, the semantic field of a film is not only visualized, but also illusively materialized as a three-dimensional image. НАУКА ТЕЛЕВИДЕНИЯ № 17.1, 2021 54 THE ART AND SCIENCE OF TELEVISION In general, the strategies reproduce the sensual immersiveness, which is inherent in the Spanish Catholic cultural experience. Such strategies block the viewers’ psychological distancing mechanisms and cause affective states and emotional involvement in the art spaces. Such technological innovations for creation of immersive spectacular audio-visual environments brought the J. Val del Omar’s cinema into the field of multi-media, and therefore he could rightfully be considered the forerunner of media art, the creator of art spaces, which later became known as sound and video installations.