SEX AND THE LUMINOUS INTERFACE: THE DIGITAL VISION MACHINE IN JULIO MEDEM'S LUCÍA Y EL SEXO

@article{Infante2008SEXAT,
  title={SEX AND THE LUMINOUS INTERFACE: THE DIGITAL VISION MACHINE IN JULIO MEDEM'S LUC{\'I}A Y EL SEXO},
  author={Ignacio Infante},
  journal={Journal of Spanish Cultural Studies},
  year={2008},
  volume={9},
  pages={75 - 87}
}
  • Ignacio Infante
  • Published 1 March 2008
  • Art
  • Journal of Spanish Cultural Studies
In his introduction to the published screenplay of Lucı́a y el sexo (2001), the Basque film director Julio Medem describes with his peculiar narrative style*often mystifying and slightly symbolic how he first planned to film his then new project with a small digital camera, ‘‘con una de esas que caben en la palma de la mano’’ (7), in an attempt to cleanse and heal himself from the traumatic end of his previous film, Los amantes del cı́rculo polar (1998): 
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