Vol. IX comparative cinema Victoria No. 16 2021 Pastor-González Towards New Ways of Representing 52-74 History: Generic Innovations in the Historical Biopic in

As virtual sites of public memorialization, historical biopics play an important part in shaping our view of the past. The genre employs a range of formal and narrative strategies in order to create persuasive narratives about historical characters and events. However, nation-specific socio-cultural and industrial conditions frequently determine whose lives are deserving of biographical treatment and how their stories are told. The following comparative analysis of two recent historical biopics, Clara Campoamor, The Forgotten Woman (Clara Campoamor, la mujer olvidada, Laura Mañá, 2011) and (Mientras dure la guerra, Alejandro Amenábar, 2019), foregrounds some of these nation-specific circumstances in the Spanish context. It then proposes that these two works employ innovative strategies that signal possible new avenues for the historical biopic in Spain. In the case of Clara Campoamor, Mañá suggests alternative ways of representing historical female figures in the public arena, whilst in his film Amenábar mobilizes the conventions of the Hollywood biopic to aid transnational readability.

Keywords HISTORICAL BIOPIC FEMINIST BIOPIC MALE MELODRAMA FEMALE SUFFRAGE IN SPAIN SPANISH SECOND REPUBLIC LAURA MAÑÁ ALEJANDRO AMENÁBAR CLARA CAMPOAMOR

Date submitted: 07/01/2021 Date accepted: 13/04/2021 Victoria Pastor-González [email protected] orcid.org/0000-0001-6305-3933 Senior Lecturer at Regent’s University London, her research interests include Spanish and Latin American docudrama, representations of memory, trauma and political conflict in film, and multimodal pedagogies. She has published in the areas of fact-based drama, employability and languages, and learner-generated materials. Her latest research on contemporary female biopics appeared in the edited volume Film and Domestic Space (2018). She has also contributed with a chapter on contemporary Spanish docudrama to the edited volume Docudrama on European Television (2016). DOI: 10.31009/cc.2021.v9.i16.04 53 Vol. IX Article comparative cinema No. 16 VICTORIA PASTOR-GONZÁLEZ 2021 Towards New Ways of Representing History: Generic Innovations in the Historical Biopic in Spain conscious attempts to reclaim, or these programmes emerged as historical orcontemporary subjects, mini-series. Whether they dealtwith of several prestige biographical 2008, 159)resulted intheproduction ideals into television images” (Palacio government to translate socialist combined with willof thenew “the decade, whengenerous budgets asaparticularlyprolific cite the1980s of scarcity. Many television scholars of significantoutput followed by years production, characterized by periods have resulted inuneven patterns of 349) which inthelast forty years interests” (HernándezCorchete 2011, economic, socio-politicalandcultural “has beenfrequently linked to television, theproduction of biopics biopics intheSpanishmedialandscape. existence andsignificance of historical attitudes that have determined the industrial conditionsandcultural Alejandro Amenábar, 2019)—illustrate While atWar( mujer olvidada, Laura Mañá, 2011)and Forgotten Woman ( analysis—Campoamor,Clara The be consideringinthiscomparative no different, andthetwo works Ishall constitutes aprestige project. even conflicting discourses onwhat and theindigenous star system, and conditions withinthelocal filmindustry process of memorialization, specific and institutional approaches to the biopics. These may includecultural the production anddistribution of pull andpushfactors influence the past. Asaconsequence, multiple inshapingthepublicmemoryof a part and historical play biopics inparticular story” (Vidal2014, 3), biopicsingeneral warrant theuniquenessof hisorher and whoseclaimsto fame ornotoriety existence isdocumented inhistory, film that dealswithafigure whose If we first considerSpanish In thissensetheSpanishcontext is Commonly defined as “a fiction Mientras durelaguerra, Clara Campoamor, la the object of several academicstudies, biopics inSpanishtelevision hasbeen broadcast. half millionviewers whenitwas first successful, attracting two-and-a- figure (Campoamor)andproved highly in apreviously-overlooked historical Forgotten Woman ignited publicinterest suffrage inSpain.Campoamor, Clara The anniversary of thegranting of female project to commemorate the80th the film was conceived asaprestige the historical mini-seriesof the1980s, production valuescompared to thoseof generous budget anddisplaying high being aparadigmatic example. Witha Campoamor, The Forgotten Woman regional state-owned channels, Clara mostly inthehandsof national and based onhistorical figures remained Meanwhile, theproduction of biopics based onthelives ofandsingers. artists released awiderange of mini-series driven programs, private channels their existing portfolio of celebrity- their quota. Inanattempt to expand television filmsandminiseries to fulfil resorted to producing made-for- both private andstate-owned channels of their profits Europeanto support film, they should invest between 5%and6% March 2010. Withtheexpectation that (Law of Audiovisual Communication), in General delaComunicaciónAudiovisual notably theenactment of theLey of social andeconomicfactors, most once again, prompted by acombination in theproduction of televisual biopics, culture. make asignificantmark on Spanishfilm biopic asafilm genre has struggled to in thisarea, which may indicate that the fragmentary nature of thescholarship This isfurtherproblematized by the limited scopeof thepresent article. is achallenge that liesbeyond the genre inthecontext of Spanishcinema tracing thehistory of thebiographical create, iconsfor afledgling democracy. Whilst theproduction of historical witnessedasecondpeak The 2010s DOI: 10.31009/cc.2021.v9.i16.04 2 1

54 Vol. IX Article comparative cinema No. 16 VICTORIA PASTOR-GONZÁLEZ 2021 Towards New Ways of Representing History: Generic Innovations in the Historical Biopic in Spain of thenarratives of reconciliation and as ill-suited to beusedasexemplars the Emperor Charles V were perceived such astheCatholic Monarchs and Molinero argues that historical figures biopics of the1980s, BaltasarFra were worthy of biographical treatment. impact ondetermining whoselives circumstances that have hadadeep specific socio-cultural andhistorical essential that we mentionthenation- of historical biopicsinSpain, itis models that may determine themaking industry andtheshiftingproduction technical categories. awards, themajorityof themfor the filmonly obtained ameagre five and philosopher Miguel deUnamuno, months inthelife of theSpanishwriter historical drama recounting thelast Best Leading Actor (). A including Best Film, Best Director and seventeen nominations for theGoyas, at Wargarnered arecord-breaking 2020, Alejandro Amenábar’s filmWhile isalsoparadigmatic.in thisarticle In production that Ishallbeconsidering figure. Inthis respect, thesecond upon aperformer playing ahistorical Actor orActress been bestowed nor hasaGoya Award for Best Leading received theGoya Award for Best Film, years not asingle historical biopichas different. For instance, inthelast ten sample, ourfindings would be radically winners to theGoya Awards asourdata context, withthelist of nomineesand out asimilarexercise intheSpanish (Vidal 2014, 2). Ifwe were to carry synonymous withaward-worthiness” and inmany ways ithasbecome ubiquitous vehicle for prestige projects, contemporary cinemathebiopicisan attraction andthefact that “in confirmation of the genre’s enduring the Academy Awards, to seek film industry’s most notable accolades, the list of nomineesandwinners of the In hisassessmentof televisual In addition to conditionsinthelocal Cinema scholars frequently look to 3

suitable subjects for acomparative two biopicsandwhich make them formal aspects that are shared by these two historically documented figures. through thepersonalized narratives of representations of thepast, thisisdone but unlike theseother cinematic forgotten figures and forgotten events, this desire to unveil andrediscover Woman article, historical biopic. are frequently and parcel part of the doing extraordinary deeds, which portrayals of exceptional individuals seemed to have little appetite for (Loureiro 2008, 231), andaudiences on theheroic figure of the warrior” “on thevictims of history, andnolonger consequence, thesenarratives focused the transition” (Labanyi 2008, 120). Asa interested interlocutors at thetimeof under thedictatorship andalack of very recently, thanks to repression “forced to remain aprivate matter until individual memoriesthat hadbeen to rediscover private experiences and 2011) responded to aperceived need ( dramasSleeping Voice such asThe Sánchez-Prieto, 2005)andhistorical such asSiempredíasazules (Israel 2013, 253). Television documentaries their subject matter” (Rodríguez Ortega movies that alltoo often romanticize film, asuccession of feel-good nostalgia documentaries but, inthefield of fiction the production of “some outstanding aftermath. Incinema, thisresulted in Spanish CivilWar anditsrepressive often polarized reassessment of the became acatalyst for anintense and Histórica (Law of Historical Memory) parliament of theLey delaMemoria around the2004−07passage through 245). the dictatorship (Fra Molinero 2009, and publicarenas intheaftermath of consent that dominated thepolitical La voz dormida,, There are further narrative and The two works considered inthis 4 Two decadeslater, thedebates Clara Campoamor, The Forgotten and While atWar, partakein DOI: 10.31009/cc.2021.v9.i16.04 55 Vol. IX Article comparative cinema No. 16 VICTORIA PASTOR-GONZÁLEZ 2021 Towards New Ways of Representing History: Generic Innovations in the Historical Biopic in Spain of looking at awoman whooccupiesthe explore how thefilmproposes new ways prowess, thefollowing analysis will professional abilities andheroratorical toopportunities portray Campoamor’s quest narrative that offers plenty of in thepublicspace. Constructed asa challenge ourexpectations of women we sensethat thischaracter isgoing to the camera withadefiant expression— her face, hereyes gazingstraight into encounter Campoamor—a close-up of From thevery first moment that we the female biopic(Bingham2010, 10). claims, have beenaregular feature of and failure” which, DennisBingham the “myths of suffering, victimization Moreover, thefilm chooses to eschew not anentertainer, aqueenorsaint. having afemale protagonist that itis Woman historical biopicintheSpanishcontext. possiblechart new directions for the as examples of generic innovations and this introduction, they alsostand out reflect some of thetrends outlinedin narrative similarities. Although they analysis goes beyond theseformal and why thesetwo filmsdeserve closer active inpolitics). However, thereason endeavors (intellectuals whoare also involved insimilarprofessional War years), anddealwithcharacters the samehistorical period (thepre-Civil such asWhileatWar . comparative exercise withafeature film mini-series format all serve to validate a and itsrenunciation of thetraditional values, accomplishedperformances 2017, 124). The film’s highproduction that might becalled cinematic” (Smith through aesthetic andsocialambitions that sets itselffrom apart ordinary TV represents “a new qualitytelevision which according to Paul Julian Smith rightly defined as “cinematicTV,” The Forgotten Woman should be for thesmallscreen, Clara Campoamor, exercise. Even thoughitwas intended Clara Campoamor, The Forgotten Thematically, both filmsare set in is initself uniqueby of virtue director claims, written out orunjustly whose contributions have been, the lives of female politiciansandactivists much of hercareer chronicling the under herbelt, Laura Mañáhasspent and theMartyr stories are told andhow. significant impact ontheissue of whose international investment may have a wider audience andgainaccessto tothe opportunity reach outto a the Spanishhistorical biopic. Having model may signalaway forward for distribution, Amenábar’s transnational traditional modelsof production and of streaming servicesare disrupting of today, whennew players intheform the rapidly-changing medialandscape transnational readability of hiswork. In Hollywood genres, thusensuringthe modes commonly associated with his Spanishfilmsfrequently deploy and Spanishnational cinema), andthat two different filmtraditions (Hollywood 2015) argue that hisstyle straddles Amenábar’s work (Jordan 2012; Kercher an innovative film. Recent studies of biopic that as sets WhileatWarapart associated withtheHollywood classical is thisreliance onmodescommonly argue that intheSpanishcontext, it and postmodern strategies, Iwould tends to beassociated withparodic contemporary biopicgenre, innovation Whilst in thewidercontext of the associated withtheclassical biopic. melodramatic conventions traditionally analysis, see inthefollowing comparative Woman Clara Campoamor, The Forgotten we find commonground between and itisat thispointthat, onceagain, biopics of theHollywood classicalera, the modesandtropes of thecelebratory interventions bringthe filmcloser to public sphere. With several historical biopics Introducing theFounding Mother Paradoxically, thesefeminist and While atWarborrows the While atWar. Aswe shall 5 DOI: 56 Vol. IX Article comparative cinema No. 16 VICTORIA PASTOR-GONZÁLEZ 2021 Towards New Ways of Representing History: Generic Innovations in the Historical Biopic in Spain casts hervote. Asshe leaves the Campoamor herself (Elvira Mínguez) male, apattern only broken when are seems asifalltheparticipants the namesof voters are called out, it century.early decadesof the20th As an electoral process, probably inthe gestures tell usthat we are witnessing established: objects, costumes and chronological timeandspaceisquickly documents andmemoirs. Asenseof reputable sources, such asofficial and facts have beengarnered from has beenpainstakingly researched although itisawork of fiction, it recreation. Itthen reassures usthat we are aboutto seeisanhistorical intertitle that reminds usthat what The Forgotten Woman openswithan historical biopics, Clara Campoamor, inserted astransitional devices. clippings, images of which are regularly as ascrapbook of dramatized news the impression of afilmthat functions contentious dialogue contribute to a fast-paced linearnarrative andoften work, extensive use of public spaces, than asadramatist. Realistic camera envisages herrole more asachronicler Spanish democracy. status asFounding Mother of the elevates the andconfirms character’s create apersuasive narrative that Campoamor, thedirector seeks to their circumstances. Inthecaseof portrays thefemale protagonists and choices and theways inwhich she and theirwork—guides hercreative underrepresented—these women represent what shefeels hasbeen deeply personal commitmentto the past” (Lipkin 2011, 3). Thus, Mañá’s all facets of thework of performing historical andethical obligations upon of publicmemory,“part pressing representation of thepast becomes director, understands that thebiopic’s 2021). ignored by male historians (deDios As isfrequently thecasein In order to achieve this, Mañá 6 Iwould argue that Mañá, asa in Spain. From point, thisstarting the struggle to achieve female suffrage in fact, theendpointof Campoamor’s Custen: Hollywood studio era. Inthewords of us back to theclassicbiopicsof the were any), itisaformat that takes areas of theprotagonist’s life (ifthere reluctant to engage withthedarkest greatness. Celebratory intone and with itsevocations of heroism and teleological Great Woman discourse, The Forgotten Woman opts for the hardly surprisingthat Clara Campoamor, as acommemorative artefact, itis television andintended channel RTVE 47). Asaproduct of thepublic-owned intended audience” (Bignell2020, production circumstances, and success, dependingontheirsubject, arisethroughcharting adversity to Man (andGreat Woman) discourse ,Bildungsroman orteleological Great the melodrama, documentary profile, draws “on arange of forms, such as Jonathan Bignellargues that theformat Campoamor, lamujerolvidada” (Fig.1). framed by thetitle of thefilm “Clara and thenlowers hergaze, herprofile who first looks straight back at us the camera zooms inonCampoamor, doesn’t seemto recognize her. Finally, recognize oneinparticular, whointurn Amongst these, Campoamorappears to can now identifyafew female faces. profiles of the waiting voters, where we polling station thecamera shows the The beginningof thefilm recreates, 132) improved ways to live. (Custen 2000, future andgive usinnovative and population, were able to seeinto the history strata andcertain of our individuals, distributed through our but rather because uniquely gifted economic unrest created tensions, inequalities orunresolved socialor that change occurred not because a modelof history which insisted The studio era films were basedon In hisanalysis of television biopics, DOI: 10.31009/cc.2021.v9.i16.04 comparative cinema comparative

Fig. 1: Towards the end of the opening scene, Campoamor (Elvira Mínguez) breaks the fourth wall and invites us into her world, 57 to bear witness to her quest. Clara Campoamor, The Forgotten Woman (Laura Mañá, 2011). Article PASTOR-GONZÁLEZ VICTORIA Generic History: Representing of Ways New Towards Biopic in Spain in the Historical Innovations 2021 Vol. IX IX Vol. No. 16 No.

DOI: 10.31009/cc.2021.v9.i16.04 58 Vol. IX Article comparative cinema No. 16 VICTORIA PASTOR-GONZÁLEZ 2021 Towards New Ways of Representing History: Generic Innovations in the Historical Biopic in Spain meditative andless about concerned genre, Amenábar’s work feels more and archival-driven approach to the persistence in achieving herobjectives. reinforcing Campoamor’s resolution and this momentbefore itpasses, whilst that reminds usof the needto capture leitmotif played inarhythmic spiccato and steadfastness, withCampoamor’s contribute to thissenseof urgency not forgotten. Editing andsoundtrack achievements, to ensure that they are tangible evidence of Campoamor’s film stands asamemorialsite providing the past events. Italsodeclares that the of thetrustworthiness of thisversion of acting asaguarantee that reassures us to ouractuality, herre-created body audience, onewhich fuses herpresent be interpreted asagesture, anod to the known traits), butitcansubsequently two of thehistorical character’s well- (candor andself-confidence being be read asamarkof authenticity protagonist’s defiant gaze caninitially to perceive Campoamor’s greatness. The those whohave beenunable orunwilling for usallandfor history itself—for all Campoamor, acts asasurrogate figure recognize (or pretends not to recognize) achievements. The woman whodoesn’t to historians whoignored Campoamor’s statement of intent andadirect rebuke scene alsofunctions asMañá’s own democracy. crucial role inthehistory of Spanish viewers to believe inCampoamor’s of anexceptional nature, itencourages she was destined to accomplishacts selected momentsfrom herpast) that and arguing (viaanaccumulation of the obstacles that she encountered, choice for afemale biopic. Depicting story asaquest narrative, anunusual Mañá’s decisionto film Campoamor’s is alsoaconvention that fits well with to frame such teleological narratives. It flashback, aconvention frequently used plot thendevelops asalong single In contrast withMañá’s revisionist More importantly, thisopening

for thebenefit of the audience” absent. which hisfame rests are conspicuously “a bigfan”), butthewritten works on to Franco’s wife whodeclares herself a soldier whoasks for hisautograph, on Unamuno’s celebrity status (from verbalized. Many characters remark landscape isneithermanifested nor contribution to thecultural andpolitical the intellectual life of Spain, buthis Unamuno played asignificant role in linguist andaninfluentialwriter, remains undiscussed. Asaprominent Spirit, butUnamuno’s own philosophy Hegel’s and religion. We see himreading significantly his struggles with faith and someeven entirely omitted, most of hispersona are barely discussed, However, aspects other important portrayal of Unamuno(Karra Elejalde). the audience of theauthenticity of this his mastery of origami—to persuade nature, hispassionfor linguistics and idiosyncratic behavior andirascible and glasses, theiconic “txapela,” his terms of characterization—the beard the data-rich biopicof Campoamor. achievements, especially compared to concrete details of Unamuno’s life and the filmiswhenitcomes to providing 2019). sides of theCivilconflict (Amenábar and historical documents from both need to includereliable testimonials respect, andthat heisconsciousof the historical recreation withtheutmost us that heapproaches theprocess of Spanish CivilWar, Amenábarreassures intentions intelling astory from the forgotten. Whenasked abouthis Paraninfo) that hasbeenundeservedly Astray at theUniversity of ’s an event (theconfrontation withMillán- attention acharacter (Unamuno) and Like Mañá, hewishesto bringto our the minutiaeof historical events. Conceived as “a reflective exercise The filmprovides enoughcluesin However, itissurprisinghow sketchy The Phenomenology of the of the The Phenomenology DOI: 10.31009/cc.2021.v9.i16.04 59 Vol. IX Article comparative cinema No. 16 VICTORIA PASTOR-GONZÁLEZ 2021 Towards New Ways of Representing History: Generic Innovations in the Historical Biopic in Spain Instead, Amenábar juxtaposesthe opening sequence of WhileatWar. music isentirely absentfrom the Campoamor, The Forgotten Woman, score intheopeningsceneof Clara Unlike theurgency that dominates the before achieving self-realization. shortcomings that hemust address martyrdom andlays bare thepersonal of hisarduous path to professional finds Unamuno at the very beginning (Eduard Fernández). Fascist CommanderMillán-Astray irrational represented ideology by the decides to take astand against an of professional self-annihilation, he moments of thefilmwhen, inanact that isultimately fulfilled intheclosing the locus of thismelodramatic promise 5). InWhileatWar , Unamunobecomes recovered andrestored” (Lipkin 2002, that lost moral structures canbe conventions, thefilmalso “suggests By adopting thesemelodramatic the forces inconflict elsewhere. contains andaidsthelegibility of of emotional significancethat reflects, His bodybecomesacanvas, alocation his authority andintellectual freedom. emasculated figure seeking to reassert and heconstructs Unamunoasan intensely physical performance— of close-ups to capture Karra Elejalde’s strategies—notably theextensive use deploys arange of melodramatic a wounded community. how his martyrdom may helpto restore asitisabout so much about themartyr remembering that the film evokes isnot the democratic cause, andtheact of envisages for Unamuno as amartyr the needfor reconciliation. Amenábar dangers of extremist ideologies and themes such asintolerance, the a framework to explore universal using Unamuno’s experiences as in Unamuno’s life thanitiswith withrecreatingconcerned events (Amenábar 2019), thefilmis less While at War The openingsceneinWhileatWar In order to achieve this, Amenábar external forces, Unamuno’s greatest Unlike Campoamor’s struggle against surrogate figure for the audience. as awitnessto hisactions anda who willremain throughout thefilm embodied inthefigure of hisgrandson, judgement of future generations, is immediately subjected to the of historical amnesia, Unamuno identified asthevictim inasituation from theaudience. IfCampoamoris positions hischaracter at adistance gaze, Unamuno’s unfocused stare disoriented onthebed(Fig. 2). he liesmomentarily startledand man outof hisgolden reverie and second gunshot finally drags theold of theyoung man(Karra Elejalde). A is infact addressing anolder version of ahouse, andit isrevealed that he been transformed into thedarkinterior this timetheluminouslandscapehas The camera cutsback to thechild, only distant gunshot catches hisattention. young manignores him, butthena out repeatedly “Grandpa!” At first the A child approaches themandcalls lulled by agentle summer’s breeze. Cariddi), resting idly beneath atree, couple (Mikel Iglesias andMartina cuts to thepastoral image of ayoung the realities of theconflict, thefilm are beingexposed for thefirst time to Town Hall, where ordinary citizens of Salamanca’s PlazaMayor andits Unamuno. From thepublicspaces accompany ourfirst encounter with These contrasting aural realities also rips through thefabric of everyday life. speed at which violence pierces and equal measure, conveying thealarming to engage anddisturb theaudience in simplicity, thissoundscape manages shots being fired. Withitspowerful of thestate of war, soldiers marching, Nationalist officer announcing the rules sounds of theapproaching conflict—a ball bouncingontheground—with the singing, thevoices of children playing, a noises of ordinary street life—birds Unlike Campoamor’s unflinching DOI: 10.31009/cc.2021.v9.i16.04 comparative cinema comparative

Fig. 2: Unamuno’s (Karra Elejalde) sleep is disturbed by distant gunshots in the opening scene of the film. While at War (Alejandro Amenábar, 2019).

60 Article PASTOR-GONZÁLEZ VICTORIA Generic History: Representing of Ways New Towards Biopic in Spain in the Historical Innovations 2021 Vol. IX IX Vol. No. 16 No.

DOI: 10.31009/cc.2021.v9.i16.04 61 Vol. IX Article comparative cinema No. 16 VICTORIA PASTOR-GONZÁLEZ 2021 Towards New Ways of Representing History: Generic Innovations in the Historical Biopic in Spain of thecomplex political landscapeof devoted to quasi-didactic explanations amongst others) withentire scenes Alejandro Lerroux [Fermí Reixach] (Victoria Kent [MónicaLópez] and of theSpanishSecondRepublic portrayal of several key politicalfigures Woman exception. Clara Campoamorstands asanotable deserves thebiographical treatment, difficult to reach aconsensusas to who where, asIpreviously argued, itis treated withequalrespect. Inanation one inwhich allvoices andopinionsare Founding Mother ofsociety, amodern Campoamorastheheroicconfirms of thischange, thequest narrative democracy. Asthetrigger andenforcer event inthehistory of Spanish communal celebration of amomentous society, inviting themto partakeinthis and meaningful to allsections of shows akeen desire to beinclusive site of publicmemorialization, thefilm and politicalideologies. Asavirtual includes people of allages, genders the righteousness of hercause. This is able to convince almost everyone of members of thepublic, Campoamor to politicians, from journaliststo (Bignell 2020, 58). From family relations individuals respond to thoseforces” impacting onindividualsandhow the audience to reflect onthe forces and multiple characters, allow “to includes awiderange of locations Campoamor, The Forgotten Woman in thelife of theprotagonist, Clara section. inhabit them, asIwillshow inthenext environments andthecharacters that the two protagonists interact withtheir quests willshapetheways inwhich his ego, andthesediffering personal challenge lieswithinhimself and Clara Campoamor, The Forgotten Portraying aperiodof two years External forces also offers thefirst film disregard for romantic relationships, avenues for awoman’s life (Fig. 3). presented andnormalized asfulfilling and showing commitment to a cause are ambition, pursuing aprofessional career through which conversations about friendship, isusedasadramatic device romantic interest to amutually fulfilling Their relationship, which evolves from his interactions withCampoamor. life, heiswholly transformed through attitude towards politics, love and self-absorbed journalist withacasual Campoamor’s potential love interest. A (Antonio dela García Torre)—as an entirely fictional character—Antonio biopic. This isachieved by introducing of hereffortspart to reframe thefemale even co-opts theromantic subplot as conventions of thegeneric formula. She acumen, Mañáopenly challenges the professional endeavors andpolitical and detailed portrayal of Campoamor’s 2014, 190−91). Through anextensive subservient to herlove life” (Vincendeau a woman’s professional achievement institutional misogyny, which still makes female biopic, revealing ourculture’s them afascinating casestudy for the importantly donot represent, make made inwhat they represent, andmore argues thechoices thefilms “that to tell aconventional love story. She a businessperson, thebiopicsopted laments that despite hersuccessas Coco Chanel, Ginette Vincendeau of recent biopicsof thedesigner in thepublicarena. Inheranalysis of portraying professional women intention to present alternative ways Additionally, they exemplify Mañá’s to take onandsucceedinthisquest. that Campoamor was somehow born the teleological narrative, theidea newcomer. These interactions reinforce being portrayed asanoutsideranda a seasonedstateswoman, despite challenges withtheassurance of navigating alliancesandlegal party Spain.1930s Campoamorisshown In contrast to Campoamor’s DOI: 10.31009/cc.2021.v9.i16.04 62 Vol. IX Article comparative cinema No. 16 VICTORIA PASTOR-GONZÁLEZ 2021 Towards New Ways of Representing History: Generic Innovations in the Historical Biopic in Spain Inside in previous films, particularly TheSea genre that Amenábaralready explored ingredient of themale melodrama, a picture of masculinityincrisis, akey to Unamuno’s ego create apowerful disappointed. These repeated blows Nationalist uprising. All endupbeing to eithertheRepublic support orthe expect himto usehiscelebrity status the lives of theirhusbands, others Some believe hisinfluencewillsave whose desires heisunable to fulfil. is surrounded by acoterie of women other female characters. Unamuno distant andsterile interactions with stands insharpcontrast to thewriter’s runs herfingers through hishair— couple’s faces whilst Unamuno’s wife scene—the sunbeamscaressing the his recently-deceased wife (Fig4). where heisforever inthecompany of Unamuno’s youth, abucolicrefuge out to beanidealized memoryfrom at key momentsinthefilm—turns opening sequenceandthenrevisited under thetree—first introduced inthe recurrent motif of thetwo lovers prominently inWhileatWar. The the themeof lost love features coffee housewhere heholds hisdaily Dean’s office at theuniversity andthe of professional performance: the home extends progressively to arenas personal spacethat heexperiences at physical andmental capacities. over himandexpress abouthis concern behavior of hisdaughters, whofuss coping strategy against theinfantilizing fantasy world of hisyouth becomesa 273). Unamuno’s repeated retreat to the immobility orentrapment” (Jordan 2012, various forms of enforced passivity, who inoneway oranother “experience damaged andemasculated males” dominated by physically impaired, Jordan notes, Amenábar’s films “seem campaigner RamónSampedro). AsBarry of thequadriplegic andright-to-die The haptic sensualityof the The encroachment uponhis [ Mar adentro, 2004](abiopic with whom shelives. Butinstead of questioning of members of herfamily, subjected to the judgement and Campoamor, like Unamuno, is frequently also feature prominently inthefilm and moments of triumph. Domestic spaces and theuniversity—are portrayed as these spaces—thecourts, parliament to doso, andthusherinteractions with power, sometimes asthefirst woman accessing thesesites of patriarchal She isfrequently shown intheact of from thepositionof theoutsider. Unamuno, herjourney shestarts and interactions. However, unlike focal pointof many conversations the country’s first female MPs) isthe female lawyer whobecomesoneof uniqueness (amature, unmarried her otherness, intheform of her also portrayed asanintruder, and 173). thus thereal intruder” (Jordan 2012, sees himself as “other” (obsolete) “and the finalscene at the Paraninfo that he confronts theNationalist “invaders” in mistakes; itisonly whenhefinally is too afraid ortoo proud to admithis The Others( the ghosts inAmenábar’s Gothic tale Unamuno’s state of denial. Similarly to some reprieve, butalsosymbolizes a liminalspacethat seemsto offer on long walks along thecitywalls, Hernández (Carlos Serrano-Clark)— the leftist academic Salvador Vila Pastor Atilano Coco() and faithful companions—the Evangelical Nationalists slogans, hetakes histwo house isoverrun by soldiers chanting achievements. Whenthecoffee of students instead of theiracademic expected to judge thepoliticalprofile the regional purging committee, heis when heisappointed astheheadof professional duties. For instance, to perform perverse versions of his and publicspaces, Unamunoisforced take control of politicalinstitutions “tertulia.” AstheNationalist forces In thissense, Campoamoris Los otros, 2001), Unamuno DOI: 10.31009/cc.2021.v9.i16.04 63 Vol. IX Article comparative cinema No. 16 VICTORIA PASTOR-GONZÁLEZ 2021 Towards New Ways of Representing History: Generic Innovations in the Historical Biopic in Spain wife (Martina Cariddi).wife (Martina WhileatWar(Alejandro Amenábar, 2019). Fig. 4: Unamuno’s idealized memoryof hisyounger self (Mikel Iglesias) andhis love andpolitics. Clara Campoamor, The Forgotten Woman (Laura Mañá, 2011). Fig. 3: Campoamor(Elvira Mínguez) andAntonio (Antonio dela Torre) discuss DOI: 10.31009/cc.2021.v9.i16.04 64 Vol. IX Article comparative cinema No. 16 VICTORIA PASTOR-GONZÁLEZ 2021 Towards New Ways of Representing History: Generic Innovations in the Historical Biopic in Spain bad thing.” This affective response an acceptance that fascism is “a simply demandsfrom theaudience society isnever fully explored; thefilm be attractive tosections of certain roots of orwhy theideology itmight and sterile fundamentalism. The to thelevel of mindless propaganda reduces Millán-Astray’s fascist ideology of overblown excess that somehow character, contribute to aperformance are well-known traits of thehistorical flamboyant personality, while these villain. Hisexpressive gesturing and stereotypical ideaof themonstrous conforms, at least outwardly, to the patch andcrippled body, Millán-Astray José Millán-Astray. Withhiscape, eye by Unamuno’s ideological nemesis, same asapropelling force, epitomized villainy andthemanifestation of the melodramatic narrative demands minded ideas. of theirchauvinistic andnarrow- an aura of professionalism regardless Campoamor’s opponents must retain parliamentary procedure demandsthat to providing arealistic portrayal of public arena. Mañá’s commitment Forgotten Woman, thisextends to the Campoamor,In thecaseof Clara The having to resortto physical violence. to discussthempassionately without for people withopposing political views the argument that itshould bepossible and theirfriendsfamily foreground between theprotagonists of both films engage indiscussingherideas. acknowledge hervoice andultimately to the other members of thehousehold to and speech rehearsing, thusforcing of frantic, through-the-night, typing to mountanaural assault intheform and thetypewriter. Shethenproceeds her trade: parliamentarydispatches into thedomestic space thetools of counteracts theircriticismby bringing memories of hisyouth, Campoamor Unamuno’s silent retreat into thegolden Conversely, Amenábar’s These bloodless dialectical battles examples). Inanswer to thequestion Nicolás Franco are [Luis Bermejo] other Miguel Cabanellas[] and wishes to bringto light (General the SpanishCivilWar that Amenábar known characters from the history of Astray of acast isalsopart of lesser- melodramatic plot device, Millán- the barbarismof asenseless war. as themost uncomfortable evidence of read andinterpret Amenábar’s image sufficient references to enable them to Lorca, ensure that audiences possess this practice, thepoet Federico García the memoryof themost iconicvictim of Francoist Repression, together with exhumation of massgraves from the in theearly andmid-2000sof the 196). The extensive mediacoverage or commongrave (Casanova 2013, leave theminaditch, well, mineshaft to seize thevictim, murder themand take astroll” (“dar elpaseo”) meant zones at thebeginningof thewar, “to both theRepublican andNationalist the murder of thousandsof people in stroll.” Aeuphemismusedto describe of thepractice of takingpeople “for a functions asaniconicrepresentation the soldiers’ view. This poignanttableau lying amongst thetall grass andout of corpses of awoman, amananddog slowly pansleft anddown to reveal the drives into thedistance, thecamera of Death”). AsMillán-Astray’s car “El novio delamuerte” (“Bridegroom well-known, albeitunofficial, anthem prompting themto singtheLegion’s the glory of dyingfor one’s country, and them, delivering arousing speech on commander Millán-Astray drives past Legion marching towards Cáceres. Their of young soldiers from theSpanish sequence, Amenábarshows acolumn death and bloodshed inthefilm. Inthis his association withtheonly sceneof la Muerte!” (“Long live death!”) and of theSpanish Legion’s motto “¡Viva Millán-Astray’s ritualistic chanting is triggered by recurrent exposure to In addition to hisvalueasa DOI: 10.31009/cc.2021.v9.i16.04 65 Vol. IX Article comparative cinema No. 16 VICTORIA PASTOR-GONZÁLEZ 2021 Towards New Ways of Representing History: Generic Innovations in the Historical Biopic in Spain War The Forgotten Woman and narratives in both Clara Campoamor, religious beliefs. country andhisfamily, andhisdeep distinctive voice, hisdevotion to the about thehistorical character: hishighly that connect to what isalready known unfamiliar, they are dramatized inways events presented inthefilmmay be preserved because even thoughthe tenacity. Asense of historical truth is strategist; hisdiplomatic skillsandhis fact that hewas acold, calculating aspects of Franco (SantiPrego): the for thedirector to explore lesser-known backdrop of theconflict creates aspace before. Thus, thefocus onthepolitical locations andcontexts rarely depicted Franco” (Muñoz 2020)by placinghimin a realistic andprofound portrayal of film becameanopportunity“to offer (Palmer 2016, 282). For Amenábar, his would know little ifanything about” Lincoln andtheperiodingeneral, even thosewithafair knowledge of historical events that most filmgoers, an unaccustomed focus, reconstructing This “provides Spielberg’s biopicwith place intheHouseof Representatives. of politicalconfrontations that take also eschews real battle scenesinfavor highly successful biopicLincoln directors, Steven Spielberg. The latter’s leaf from thebookof oneof hisfavorite sense, Amenábarseemsto betakinga the hymn) cameinto existence. Inthis symbols ofSpain(theflagand modern well as anexploration of how certain sole control of theNationalist army, as that paved theway for Franco to gain insider’s view of thepoliticalintrigues (Muñoz 2020). Thus, thefilmprovides an which deal withFranco’s riseto power amount of filmsthat have beenmade he isfrankly surprisedat themeagre little abouttheirCivilWar” andthat that in his opinion, “people know very Spanish CivilWar?” thedirector replies “is thisyet another filmaboutthe Finally, noting itisworth that the shine alight onthe mechanisms While at While at (2012) (2012) several scenesinvolving scheduled in Campoamor’s life. The film includes press isaconstant physical presence unable to control orinfluence, the on theradio waves that Unamunofeels her quest. Unlike thespectral voices establish achronology of thestages of on society andare frequently usedto evidence of theprotagonist’s impact Woman in character of Antonio, are presented thosewrittenin particular by the half-truths andpropaganda. perceived asasource of misinformation, misrepresented, massmediaismostly frustrated at beingmisquoted and of Unamuno, who grows increasingly (Fig. 5). Viewed from theperspective of theactions of theinsurrectionists interpreted ashissilent acquiescence that thisphotographic record willbe physical discomfort andalsothefear features convey both hispresent manipulated. The philosopher’s troubled comes to therealization that heisbeing of thecamera’s flashbulb, Unamuno Franco, andhalf-blinded by thelight by José Millán-Astray andFrancisco offers to take agroup portrait. Flanked the meeting closes, aphotographer Unamuno at thecoffee houseand, as leaders of theNationalist uprisingvisit generated. scene, Inoneparticular the in which these mediareportswere this by unpicking thecircumstances supplying propaganda. Amenábardoes attention to therole of themediain truthfulness of thosesources anddraws the film routinely questions the events intimeandspace. However, to advancetheaction andlocate the prominently andare useddiegetically newspapers andradio broadcasts. are reported incontemporaneous how the actions of both protagonists more evident thanin theirportrayal of constructed, andthisisnowhere by which historical records are Clara Campoamor, The Forgotten Conversely, newspaper articles, In While atWar, news reports feature as trustworthy and tangible DOI: 10.31009/cc.2021.v9.i16.04 66 Vol. IX Article comparative cinema No. 16 VICTORIA PASTOR-GONZÁLEZ 2021 Towards New Ways of Representing History: Generic Innovations in the Historical Biopic in Spain War (Alejandro Amenábar, 2019) (Eduard Fernández, left) andother leaders of theNationalist uprising. Whileat Fig. 5: Unamuno(Karra Elejalde, right) hashispicture taken withMillán-Astray Forgotten Woman (Laura Mañá, 2011). right) are interviewed outsidetheSpanishParliament. Clara Campoamor, the Fig. 6: Victoria Kent (MónicaLópez, left) andClara Campoamor(Elvira Mínguez, DOI: 10.31009/cc.2021.v9.i16.04 67 Vol. IX Article comparative cinema No. 16 VICTORIA PASTOR-GONZÁLEZ 2021 Towards New Ways of Representing History: Generic Innovations in the Historical Biopic in Spain camera style reminiscent of television counterbalances theseaspects with a that are rather heavy onrhetoric, Mañá Though theseare relatively long scenes her exceptional professional abilities. foropportunity Campoamor to display 1992, 186), andpresent afurther they hold dearto theirhearts” (Custen impassioned pleas for whatever itis address “to thecommunitywith Parliament. of women’s suffrage intheSpanish journey leading to theratification opponents), detailing the tortuous and confrontations withpolitical like scenes(parliamentaryspeeches develops through aseriesof trial- Campoamor’s quest narrative a Founding Mother andamartyr. the directors initially cast them, that of the two characters intheroles inwhich explore how thesefinalscenesconfirm grace. Inthefollowing section, Ishall ultimately leads to Unamuno’s fall from 1936. However, moment thiscathartic of Salamancaonthe12thof October notorious intervention at theUniversity War completion of herquest. Whileat suffrage andthusthe triumphant by theadoption of thelaw onfemale Spanish Parliament, which isfollowed delivers amasterful finalspeech at the closing sceneof thefilm. There, she referents of herperformance inthe public interventions and remain key professionalism define Campoamor’s event (Fig. 6). they were experiencing anunmediated witnessing Campoamor’s actions asif alongside members of thepress, scenes thespectator ispositioned a publicspeaker. Additionally, inthese showcase theprotagonist’s abilitiesas or impromptu press conferences that These trial-like scenesallow heroes Towards theendof thefilm, The voices of reason Confidence, conviction and also concludeswithUnamuno’s belligerent, empty rhetoric of Millán- spectrum, represented by the irreconcilable sidesof anideological face-off between two opposite and film’s climaxis staged astheultimate final speech, in WhileatWarthe the dramatization of Campoamor’s pleasures that audiences derive from speech-giving (Fig. 7). customarily accompaniescinematic the conventional rousing score that message withoutany needto add words to deliver theintended to trust inthepower of Campoamor’s our emotional responses. Mañá seems that relies heavily onitsscore to guide silence, asurprising choice for afilm mostly against abackground of Campoamor’s speeches are delivered interpreting hermessage. Significantly, pleasure intheact of reading and in content, thusproviding intellectual to beboth accessible andsubstantial speeches have beencarefully adapted tone. Furthermore, Campoamor’s commanding andhighly persuasive possesses arich, deepvoice witha and humor, andCampoamor/Mínguez her opponents containmomentsof wit exchanges between Campoamorand 2014, 125). For instance, theverbal ‘cinematizing’ of oratory” (Brown middlebrow style emerging from the there are “sincere pleasures of wealth of parliamentaryprocedure) (another “talky” biopic, featuring a Amazing Grace [Michael Apted, 2006] observes inhisanalysis of thefilm events. inthesehistorical also asparticipants audience not just as witnesses, but all of which helpsto positionthe relatives asshedelivers herspeeches, the general publicandCampoamor’s include frequent reaction shots of MPs, ups edited inquick succession. They multiple brief mediumshots andclose- dynamic andimmediate, consisting of news broadcasts, strongly immersive, In contrast withthecommunal Additionally, andas Tom Brown DOI: 10.31009/cc.2021.v9.i16.04 68 Vol. IX Article comparative cinema No. 16 VICTORIA PASTOR-GONZÁLEZ 2021 Towards New Ways of Representing History: Generic Innovations in the Historical Biopic in Spain (Alejandro Amenábar, 2019). Fig. 8: Unamuno’s (Karra Elejalde) intervention at theParaninfo. WhileatWar Mañá, 2011). speech at theParliament. Clara Campoamor, The Forgotten Woman (Laura Fig. 7: Campoamor(Elvira Mínguez, standing ontheright) delivers herfinal DOI: 10.31009/cc.2021.v9.i16.04 69 Vol. IX Article comparative cinema No. 16 VICTORIA PASTOR-GONZÁLEZ 2021 Towards New Ways of Representing History: Generic Innovations in the Historical Biopic in Spain stands, walks to thedais anddelivers dismantled fantasy world. Finally, he figure canbe read as a symbol of his awakening, where theunfolded origami Unamuno, thisaction signifieshisfinal made visible” (Haiduc2020, 26). For sign of anunfolding internal truth being screen melodramatically, asanexternal “encourage viewers to ‘read’ the act on of theact of writingandserve to feature frequently inthedepiction biopics, theseexaggerated gestures writingfrantically.starts Inliterary the paperover onto itsblanksideand shot of Unamuno, whopurposely turns release. Amenábarthencutsto azenith that itwould helpwithherhusband’s Atilano Cocoentrusted himinthehope to containtheletter that thewife of one of thecorners, thepaperisshown in thisfinalscene. Ashe folds back acquires anextraordinary significance which occurs very rarely inthefilm, unexpected ways, theact of writing, tool of hisprofession isdeployed in intellectual prowess. Butbecause this it isinfact avisible evidence of his with thecomplexities of theart, but that seemschildish to thoseunfamiliar them into origamifigures, anactivity paper. Heisseenrepeatedly folding handling andtouching piecesof blank through close-ups of himpicking up, we connect withUnamunohaptically an origamifigure. Throughout thefilm, himself by folding apieceof paperinto and ultimately decidesto distract the speeches of variouspublicofficials, Paraninfo, hesitsdown, barely noticing of martyrdom. Oncethey arrive at the sacrifice socommonintheiconography resembles rideto thecart theplaceof driven to theParaninfo, anact that of thefilm. Instead of walking, heis Unamuno for much of thesecondhalf passivity that marks thecharacter of the discourse of obsolescence and other. conciliatory, rational stance onthe Astray ononesideandUnamuno’s The scenebeginsby reaffirming and democracy (Fig. 8). formartyr thecause of reason, dialogue perpetuating animage of Unamunoasa him, thissceneproves highly effective in persuade theaudience seated before ideology. Despite his inabilityto philosophical ideasfrom theNationalist events andto distance himself andhis publicly hisown version of therecent setting to asanopportunity declare importantly, hesees thistrial-like present of thefutility of war. More of national unitywillpersuade those Unamuno hopesthat hismessage the publicdebate over euthanasia,” recorded testament “helped transform assisted suicideandhiscontroversial 2012, 218). Inthesameway Sampedro’s made himanational celebrity” (Jordan life orinthosearound himandwhich and ameaningwhich henever found in self-negation andsuicide “a purpose protagonist RamónSampedro findsin earlier biopicTheSeaInside, the choice. Looking back to Amenábar’s for Unamunotohisfreedom assert of Paradoxically, thisisalsoamoment via suicide” (Jordan 2012, 274). who “find a remedy inself-annihilation cope orovercome theirtraumas and Amenábar’s characters whocannot he belongs to theextensive list of professional suicide, andinthat sense, aware of thefact that heiscommitting one of heroism. Unamunoisperfectly to anarrative of martyrdom thanto moment of triumphbelongs more discombobulated outburst—this fundamentalism andMillán-Astray’s up against thefaceless hordes of the solitaryvoice of reason standing Unamuno’s intervention affords— Astray’s accusation of treason. from theauthorities, andMillán- the audience, expressions of disbelief words are met withhostile soundsfrom unity asdangerous propaganda. His denouncing theirmessage of national to theNationalist uprisingand a brief speech declaringhisopposition Despite release thecathartic that DOI: 10.31009/cc.2021.v9.i16.04 70 Vol. IX Article comparative cinema No. 16 VICTORIA PASTOR-GONZÁLEZ 2021 Towards New Ways of Representing History: Generic Innovations in the Historical Biopic in Spain broken only by deliberate efforts to patterns inthefemale biopic “can be failure. He adds that these recurrent and narratives of victimization and dominated by adownward trajectory, that female biopicsare frequently biopic genre, DennisBinghamargues towards new directions? quest. exceptionalism andcommitmentto her reminder of Campoamor’s professional an upward trajectory andtheultimate seat.” Thus, the filmconcludeswith speaking from herParliamentary Spain, itwas achieved by onewoman the efforts of thousandsof women. In approval of female suffrage rested on this film: “Elsewhere inthe world, the of theteleological modeadopted in biopic’s selective view of history and final note, however, reminds us of the establishment of full democracy. One Campoamor’s pivotal role inthe of women to vote,” thusemphasizing “when noonequestioned theright first democratic elections in1977 the finalintertitles alsomentionthe 1936 anddiedinSwitzerland in1972, that Campoamor went into exile in across. Alongside thefactual data when itcomesto getting itsmessage Forgotten Woman isfar more explicit democratic elections seemto represent. national reconciliation that thefirst conciliatory speech andtheact of connection between Unamuno’s final again. Instinctively, we establish a Spain held democratic elections once a further note explaining that in1977, two months later. This isfollowed by dismissed from theuniversity anddied at War, we are told that Unamunowas events depicted inthefilm. InWhile happened to thecharacters after the to includeintertitles explaining what In hiscomprehensive study of the The historical biopicinSpain, As ever,Campoamor, Clara The It iscommonfor historical biopics that israrely seen inthecontext of is anapproach to thehistorical biopic While atWarproves innovative, asit celebratory formula that, paradoxically, connection withtheold-fashioned (Vidal 2014, 4). Onceagain, itisinthis the ‘Great Man’ as amotor of history” with itsemphasisonthecelebration of Hollywood biopicof thestudio era, War towards the hagiographic, Whileat melodramatic formula anditstendency (Vincendeau 2014, 183). dealing withprofessional women seem to bethetrademark of biopics romance, decadenceandruin” that competence instead of the “tragic to portray andcommemorate female biopic, precisely because itchooses Forgotten Woman isaninnovative the factCampoamor, isthat Clara The more traditional forms of thegenre, positions thisbiopiccloser to earlier, of thecharacter’s exceptionalism 350). Although this celebratory portrayal as we learnaboutthem” (Bingham2010, allowing themto discover themselves the subjects alone, basically, withus, within theframework of thefacts, leave and Sofia Coppola, who, “working female biopicssuch asMaryHarron those of other directors of innovative on thegenre canbecompared with that Mañá’s feminist interventions by professional ambition. Iwould argue whose motivation isundoubtedly driven a portrayal of acredible character quest narrative are combinedto present mise enscèneandtheadoption of a analysis of thefilm, Ihave shown how rather thanasafemale issue. Inmy between Campoamorandhermother, are codifiedasa generational issue marriage andrelationships, butthey are thecustomary conversations about personal andprofessional destiny. There Campoamor asthemainagent of her 222). Mañádoesthisby portraying undo andrework them” (Bingham2010, rethink themandadefinite desire to In itsextensive useof the also shares aspacewith “the DOI: 10.31009/cc.2021.v9.i16.04 71 Vol. IX Article comparative cinema No. 16 VICTORIA PASTOR-GONZÁLEZ 2021 Towards New Ways of Representing History: Generic Innovations in the Historical Biopic in Spain coproduction of hisfirst successful transnational (Jordan 2012, 270). Sincetherelease refashion, traditional genre formats” to exploit, aswell asto update and strongly Anglo-American, hisfilmsseek but also, “while hisstyle might be Anglo-American, independentsources,” Hollywood andmore contemporary his inspiration mainly from classical observes that thedirector “draws Amenábar’s oeuvre, Barry Jordan Spanish cinema. Inhisanalysis of red, yellow andpurple inthe opening 2019). These two flags(the Republican grow accustomed to itspresence (Miró are theonly onesthat we have,” and history behindthosesymbols, “which argues that Spaniards should face the be read as “una americanada,” he films.” Whilst heconcedesthat itcould screen, intheway they doinAmerican film withaflagfillinguptheentire admits that he “fancied closing the closing shots of thefilm, Amenábar flags that dominate theopeningand national flag. Whenasked aboutthe symbols of thenation, specifically the forces viewers to reconsider the known ones(Franco). Moreover, it uncommon portrayal of thebetter- characters (i.e. Millán-Astray) andan an examination of somelesser-known Amenábar opensupthefield to enable in thehistory of contemporary Spain, narrate such anidiosyncratic moment conventions of theHollywood biopicto that by adopting themelodramatic of thechosen topic. Ihave argued 269) andalsoinhisunusualtreatment choice of subject matter” (Jordan 2012, in “his often unusual, very personal, hybridization that guides Amenábar this penchant for disruption and (Kercher 2015, 212). Itisperhaps for theentire Spanishfilmindustry experience not only for himbutalso had donebefore” isan ongoing learning Hollywood asnoother Spanishdirector achievement of crossing over to considers that his “exceptional The Others, Amenábar to be asuccessionof “experiments in Amenábar’s case, his career appears the fortunes of anentire genre, butin work of two directors could transform 2021). the Naziconcentration camps(deDios the life of NeusCatalà, a survivor of female protagonist: amini-serieson another historical biopicfeaturing a The director iscurrently working on these historical characters andevents. roleimportant inthememorialization of of consensualbiopicsthat play an Montseny, Mañáemerges asadirector Clara CampoamorandFederica social activists ConcepciónArenal, the portrayals of Spanishwriters and Argentinian anarchist Virgina Bolten to (Zecchi 2014, 200). From thelife of the feminism, of women andof humankind” and momentous events inthehistory of has beendevoted to “rescuing figures, industry. Equally, Mañá’s late career for thegenre withintheSpanishfilm argued that heisbecomingamodel considerable bodyof work, itcould be and/or protagonists. Basedonthis of themdealingwithSpanishissues War) could qualifyasbiopics, withtwo Sea Inside, on real events, and three of them(The notice that hislast four filmsare based become especially relevant whenwe Amenábar’s work. These similarities motives that appear elsewhere in I have alsoidentifiedthemesand to repeat it. those whoforget theirpast are doomed hint at the more universal adage that novel Unamuno himself explored inhis1917 of the Two , aconcept that as references to therecurrent notion 2016, 312). Ontheonehand, they stand the film’s narrative content” (Epstein images metonymically“that reproduce temporal markers, they alsofunction as the closing one)not only act asvisual shot and thered and yellow onein It might benaive to assumethat the In theformal analysis of thefilm, Abel Sánchez. Ontheother, they Agora [2009], andWhileat DOI: 10.31009/cc.2021.v9.i16.04 72 Vol. IX Article comparative cinema No. 16 VICTORIA PASTOR-GONZÁLEZ 2021 Towards New Ways of Representing History: Generic Innovations in the Historical Biopic in Spain discourse. Inthebiopicgenre shehas heroes of feminism into thepublic guided by adesire totheunsung insert career, ontheother hand, hasbeen producers willfollow hislead. Mañá’s conceivable that other directors and as thebiopic(TheSeaInside), soitis the Gothic horror (TheOthers), aswell as thethriller (Thesis[ distinctive approach to genres such 23). Hehassuccessfully applied this personal auteur cinema” (Jordan 2012, generic hybridity inorder to create a Garaño, 2018),Endless Trench and The es fácil conlosojoscerrados, , 2013),( The Giant number of filmsinspired by real events, for instance Living IsEasy withEyes Closed( The list of3/ nominations andwinners duringthelast decadedoeshowever includea Carlota Coronado’s Lamirada televisiva (2009). López’s et alHistoriasdelapequeñapantalla (2009), and José Carlos Rueda Laffond and Examples includeSira HernándezCorchete’s2/ LaGuerra Civiltelevisada (2012), Francisca for your Life [ muerte deunpoeta, TVE1, 1987]), orsimply by creating acontemporary legend (ElLute: Run Jesús, 1, TVE 1984]), reestablishing censored cultural icons(Lorca, Deathof aPoet [ 1/ This was achieved through recasting historical characters (St Teresa of Avila [ amenabar https://mientrasdurelaguerra.movistarplus.es/extras/entrevista-alejandro- References series: in recent years andthey now feature intwo highly successful historical fiction television tainted by theirassociation withFrancoist propaganda. Their legacy hasbeenreassessed At that time,4/ there was asensethat theimage of thesetwo historical figures was Jose MariGoenaga, 2019). television biopics withfemale protagonists:, NeitherGod Inaddition to Clara Campoamor,6/ theForgotten Woman, Mañáhasdirected three other with aninternational appeal. spy thrillers, love stories that appeal to niche audiences andreferences to historical events features that ensure transnational readability such astheuseof thegeneric conventions of and 2016), includes titles such asSmoke and Mirrors ( Aclear example of thistrend5/ isNetflix’s current offering of Spanishbiopicswhich 2015−16). Montseny, ladonaqueparla, 2021). visitadora de cárceles, 2012)andFederica Montseny, theWoman whoSpeaks( ni patrón, nimarido, 2010), Concepción Arenal, thePrison Visitor ( Amenábar, Alejandro. 2019. “Entrevista conAlejandro Amenábar.” Movistar+. Elisa &Marcela( The Photographer of Mauthausen( Isabel (RTVE, 2012−14) andCharles, King and Emperor( [accessedMay 10, 2021] El Lute: caminaorevienta], 1, TVE 1987]). , 1996]), Elisa yMarcela, IsabelCoixet, 2019). All of theseproductions exhibit ( La trinchera infinita, Aitor Arregi, Jon Garaño and El fotógrafo deMauthausen, Mar Targarona, 2018) El hombredelasmilcaras, Alberto Rodríguez, and unexpected directions. biopic intheSpanishcontext innew and Mañáare propelling thehistorical it cannot bedeniedthat Amenábar feminist interventions inthegenre, historical characters orthrough Hollywood biopicto depict Spanish mobilizing theconventions of the worthy of depiction. Whether itisby arguments—people whoselives are using visualevidence andpersuasive found aneffective tool to champion— NorMasterorHusband ( Handia, Aitor Arregi and Jon , RTVE, Carlos. 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