Thesis Submitted for the Degree of Doctor of Philosophy
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University of Bath PHD The Representation of Migrants in Contemporary Spanish Cinema Guillén Marín, Clara Award date: 2015 Awarding institution: University of Bath Link to publication Alternative formats If you require this document in an alternative format, please contact: [email protected] General rights Copyright and moral rights for the publications made accessible in the public portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognise and abide by the legal requirements associated with these rights. • Users may download and print one copy of any publication from the public portal for the purpose of private study or research. • You may not further distribute the material or use it for any profit-making activity or commercial gain • You may freely distribute the URL identifying the publication in the public portal ? Take down policy If you believe that this document breaches copyright please contact us providing details, and we will remove access to the work immediately and investigate your claim. Download date: 07. Oct. 2021 THE REPRESENTATION OF MIGRANTS IN CONTEMPORARY SPANISH CINEMA Clara Guillén Marín Thesis submitted for the Degree of Doctor of Philosophy Department of Politics, Languages and International Studies University of Bath May 2015 COPYRIGHT Attention is drawn to the fact that copyright of this thesis rests with the author. A copy of this thesis has been supplied on condition that anyone who consults it is understood to recognise that its copyright rests with the author and that they must not copy it or use material from it except as permitted by law or with the consent of the author. 1 Table of Contents Acknowledgements .............................................................................................................................. 4 Abstract .................................................................................................................................................... 5 1. General Introduction ...................................................................................................................... 6 2. Literature on Migration Cinema ................................................................................................. 9 3. Literature on Spanish Migration Cinema .............................................................................. 10 4. Theoretical Framework .............................................................................................................. 13 PART 1: THE DOCUMENTARIES .................................................................................................... 25 5. Introduction ............................................................................................................................................... 25 5.1. Documentary Theory ......................................................................................................................................... 26 5.2. The Documentaries ............................................................................................................................................. 27 6. The Construction of Dissensus in En construcción (Jose Luís Guerín, 2001) ............ 29 6.1 Introduction ............................................................................................................................................ 29 6.2 The Cinematic Construction of Dissensus ..................................................................................... 30 6.3 Naficy’s ‘Accented Cinema’ and En construcción as an Accented Documentary ............... 32 6.4 The Democratics of Space and Time ............................................................................................... 35 6.5 Migrant Identities and Contrasted Masculinities ....................................................................... 37 6.6 Conclusion ................................................................................................................................................ 41 7. Barcelona with the Eyes of the Other in Si nos dejan (Ana Torres, 2004) .................. 42 7.1 Introduction ............................................................................................................................................ 42 7.2 Montage in an Accented Essay Film ................................................................................................. 44 7.3 The Construction of ‘Us’ versus ‘Them’ .......................................................................................... 45 7.4 Conclusion ................................................................................................................................................ 57 8. Madrid from the Other Side in El otro lado…un acercamiento a Lavapiés (Basel Ramsis, 2002) ..................................................................................................................................... 58 8.1 Introduction ............................................................................................................................................ 58 8.2 An Accented Documentary ................................................................................................................. 59 8.3 The Biblical Intertext ........................................................................................................................... 63 8.4 Clash of Cultures and the Staging of Dissensus ............................................................................ 64 8.5 The use of music ..................................................................................................................................... 72 8.6 Conclusion ................................................................................................................................................ 74 9. Female Migration and Multiculturalism in Extranjeras (Helena Taberna, 2003) ... 76 9.1 Introduction ............................................................................................................................................ 76 9.2 Multiculturalism .................................................................................................................................... 78 9.3 The Female Migrant and the Idea of the Western Modern Woman ...................................... 84 9.4 Conclusion ................................................................................................................................................ 96 PART 2: THE FICTION FILMS ......................................................................................................... 99 10. Introduction ............................................................................................................................................ 99 11. Female Migrant Identities, Rural Space and Consensus in Flores de otro mundo (Iciar Bollaín, 1999) ........................................................................................................................ 102 11.1 Introduction ....................................................................................................................................... 102 11.2 Flores de otro mundo as a Melodrama ...................................................................................... 105 11.3 Plot Influences and Contextualization of Flores de otro mundo ....................................... 107 11.4 Gender, Rural Space and the Tension between Dissensus and Consensus .................. 109 11.5 Spatial Contestation ........................................................................................................................ 111 11.6 The Economic Order and Melodrama ....................................................................................... 115 2 11.7 Contrasted Masculinities, Ethnicity, Sex and Power ............................................................ 116 11.8 Conclusion .......................................................................................................................................... 121 12. Globalization, Migrants and the Ethical Community in Agua con sal (Pedro Pérez Rosado, 2005) ................................................................................................................................... 122 12.1 Introduction ....................................................................................................................................... 122 12.2 Contextualization and Plot ........................................................................................................... 124 12.3 Family, Space and Globalization ..................................................................................................... 125 12.4 The town ................................................................................................................................................ 126 12.5 The Factory .......................................................................................................................................... 128 12.6 Imagined Spaces .................................................................................................................................. 130 12.7 The Ethical Community in Agua con sal .................................................................................... 132 12.8 Conclusion ...........................................................................................................................................