ABSTRACT The second half of the 20th century witnessed the gradual decline of the working class as a collective political actor. Spanish film La mano invisible (David) turns workers into actual actors, representing ‘the wonderful spectacle of work’ in front of an invisible audience. Using a dual social and formal analysis, this article addresses how this film unveils two other invisibilities: that of the workers in the era of post-democracy; and that of neoliberalism as a ‘natural order’ constraining thought and action. This paper shows La mano invisible as a highly political film for it challenges the dominant formal, production and ideological norms. Produced as a cooperative and distributed mainly through festivals and independent cinemas, I argue that the film is an extraordinary example of the interface between culture and society. La mano invisible reveals and questions the invisible relations of power and violence that pertain the world of work in capitalist societies through the film’s politics of form, production and distribution. By the radical coherence of all these politics, La mano invisible amplifies the resonance of its message, asking the audience: who said work had to be like this?

中文翻译：

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构筑看不见的手。拉玛诺的工作，电影和危机无形（Macián2016）

摘要20世纪下半叶，工人阶级作为集体政治参与者的地位逐渐下降。西班牙电影《看不见的玛诺（David）》将工人变成了真正的演员，在看不见的观众面前展现了“工作的奇观”。本文通过对社会和形式的双重分析，探讨了这部电影如何揭露另外两个隐形现象：后民主时代的工人隐形现象；以及将新自由主义视为限制思想和行动的“自然秩序”。本文表明，《拉玛诺》作为一部高度政治性的电影而无形，因为它挑战了主流的形式，生产和意识形态规范。我认为这部电影是作为合作社制作并主要通过节日和独立电影院发行的，我认为这部电影是文化与社会之间互动的非凡典范。《拉玛诺的无形》通过电影的形式，生产和发行政治揭示并质疑了与资本主义社会的劳动世界有关的权力与暴力之间的无形关系。通过所有这些政治的根本连贯性，拉马诺的无形现象加剧了其信息的共鸣，问观众：谁说作品必须像这样？