ABSTRACT This article analyses the representation of a female lawyer whose personal tragedy encourages her to become a heroine lawyer for the socially disadvantaged. It explores a female filmmaker’s account of a woman lawyer fighting for a lost cause and examines in what way the public/private, law/justice and reason/emotion dichotomies are played out in her public performance and private life. Central to my discussion will be the significance of emotion in filmmaking, law and social justice. I use Carl Plantinga’s seminal work on the emotional experience of the spectator and his cognitive-perceptual account of the viewing process, and combine it with a fruitful discussion of the genre of female lawyer films, as theorized by Cynthia Lucia and Orit Kamir in two pioneering studies on female lawyer films. This article fills a significant critical gap in the field of Spanish law and film. Positioned at the intersection between law, film and emotion, it gives space to a productive cross-fertilization of theories of spectatorship and the female lawyer film.

中文翻译：

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私人痛苦与公众耻辱：冈萨雷斯·辛德（GonzálezSinde）的女律师在《苏美尔》 /《好运》（2003）

摘要本文分析了一位女律师的代表，她的个人悲剧鼓励她成为社会弱势群体的女主角律师。它探讨了一位女制片人为一名女律师争取失去的事业而做的陈述，并研究了她在公共表演和私人生活中以何种方式表现出公共/私人，法律/司法和理性/情感二分法。我的讨论的中心是情感在电影制作，法律和社会正义中的重要性。我将卡尔·普林廷加（Carl Plantinga）的开创性作品用于观众的情感体验以及他对观看过程的认知-感知描述，并将其与关于女律师电影类型的富有成果的讨论相结合，这是辛西娅·卢西亚（Cynthia Lucia）和奥里特·卡米尔（Orit Kamir）在两次开创性研究中提出的理论女律师电影的研究。本文填补了西班牙法律和电影领域的重大批评空白。它位于法律，电影和情感之间的交汇处，为观众理论和女律师电影的富有成效的交叉应用提供了空间。