Daniel Berjano Rodriguez
The “vampire-image” refers to technological simulations rooted in cinematographic modernity which aims at erasing and manipulating people’s experiences with systemic violence. First, I draw on Aníbal Quijano (2000), Teresa de Lauretis (1987) and María Lugones (2008) in order to introduce certain intersections between the movements against “gender ideology”, western racism, and the sex and gender binaries in relation to the Spanish context. Secondly, I depart from Gilles Deleuze’s film theory (1989) in order to analyze two films from the Spanish Transition as vampire-images (Elisa, vida mía by Carlos Saura and Arrebato by Iván Zulueta), providing some insights on Spanish national identity. The vampire-image stands as an analysis tool which points out the pervasive power of Eurocentrism and the sexual binary in the Spanish state. It could also contribute to the exploration of intersectional violences and new strategies of control aiming at the repression of social movements against capitalist destruction.
Keywords: Spanish Transition; gender ideology; sexual binary; Spanish national identity; vampire-image.