Infinite landscapes in Gutirrez Aragn's Habla, mudita
The 1973 release of Habla, mudita marked both the end of Spain's miracle years and the beginning of environmentalism in Spain. The film, which hinges on an encounter between the urban and the rural, is set in the wilderness of Northern Spain. The urban gaze, which stands in both fear and awe of the landscape, enunciates Northern wilderness as its Other. For Levinas, the Other is infinite: it should be preserved in all its irreducible strangeness and lie beyond the comprehension of the subject. Although not explicitly spatial in his thinking, Levinas's writing serves as a useful framework for the elusive, powerful vision of nature that the film advances. Via poetic visual language, the Northern Spanish landscape is represented as a mysteriously remote terrain, positioned beyond the reach of the urban gaze. In seeking to preserve the landscape as the infinite Other, the film articulates an anxiety towards both the ecological fallout of industrialisation and the demise of Spanish rural life.
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Document Type: Research Article
Affiliations: Queen Mary College, University of London.
Publication date: 2007-09-21
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- In 2013, Studies in Hispanic Cinemas, is changing its name to Studies in Spanish & Latin American Cinemas to reflect more accurately its content, which is dedicated to the study of Spanish-speaking and Latin American cinemas, including the cinemas of Spain and Spanish-speaking South, Central and North America including the Caribbean, as well as Brazil.
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