Sensing justice through contemporary Spanish cinema: aesthetics, politics, law

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Notes

1 Davide Panagia and Jacques Rancière, ‘Dissenting Words: A Conversation with Jacques Rancière’ (2000) 30(2) Diacritics 115.

2 See Mónica López Lerma and Julen Etxabe, Rancière and Law (Routledge 2018).

3 Desmond Manderson, Songs without Music: Aesthetic Dimensions of Law and Justice (University of California Press 2000) 28.

4 Mieke Bal, Travelling Concepts in the Humanities: A Rough Guide (Toronto University Press 2002) 137.

5 Ruth Hertz, ‘Almodóvar’s High Heels Revisited: A Scandalous or Thought-Provoking Portrayal of a Judge?’ (2023) 17(1) Law and Humanities 193.

6 Because the democratic potential of film is exclusively framed in terms of Rancière’s thought, which emphasizes moments of rupture, it opens up the problematic of the inscription of political acts. As Aletta Norval observes, one underdeveloped aspect of Rancière’s characterization of democracy is his tendency ‘to refrain from explicitly engaging with the issues that arise after moments of rupture, when previously excluded senses of wrong become visible and alternative ways of doing things need to become institutionalized and thus inscribed into the current order.’ According to Norval, it is important to supplement Rancière’s characterization of democracy as rupture with an account of how this rupture is inscribed onto the larger political horizon. See Arletta Norval, ‘“Writing a Name in the Sky”: Rancière, Cavell, and the Possibility of Egalitarian Inscription’ in Nikolas Kompridis (ed), The Aesthetic Turn in Political Thought (Bloomsbury Academic 2014) 194.