NEGOTIATING IDENTITIES IN CATALAN AND ANDALUSIAN FESTIVAL FILMS SINCE THE LEY DEL CINE (2007) A thesis submitted to the University of Manchester for the degree of Doctor of Philosophy in the Faculty of Humanities 2019 NICOLA D. TOMLINSON SCHOOL OF ARTS, LANGUAGES AND CULTURES Table of Contents List of Figures ........................................................................................................................................ 5 Abstract .................................................................................................................................................... 6 Declaration ............................................................................................................................................. 7 Copyright Statement ........................................................................................................................... 7 Acknowledgements ............................................................................................................................. 8 Introduction ........................................................................................................................................ 10 Chapter 1. Filming then, filming now: shifts in cultural policy and their bearings on representations of Andalusia ....................................................................................................... 31 1.1. Previous legislation and its impact on representations of Andalusia .............. 32 Early efforts to shape cinema through legislation in Spain and Andalusia ....... 34 Trojan Houses: Cinema in Andalusia, state control and stereotypes ................... 38 Production in Andalusia in the 1950s: Continuing, or contesting, the canon... 40 Lucrative landscapes: Film sets and film schools under the Dictablanda .......... 42 Por un cine andaluz? Forming a film industry in post-Franco Andalusia ........... 46 ‘Una irregular política de mecenazgo’: Democracy and new legislation surrounding cinema in Andalusia ................................................................................................................ 50 1.2. The Ley del Cine and its implications for Andalusia ............................................... 59 1.3. Who decides? The role of industry bodies in Andalusia ....................................... 64 1.4. Film festivals in Andalusia ................................................................................................ 70 Alcances Festival de Cine Documental, Cádiz ................................................................ 74 The Seville European Film Festival (SEFF) .................................................................... 81 Chapter 2. Identity on screen: which Catalonias are visible? ...................................... 89 2.1. ‘Entre un cinema català amb visibilitat i un altre que no la té’: Previous legislation and its impact on representations of Catalonia ................................................................ 95 Early efforts to shape cinema through legislation in Spain and Catalonia ........ 95 1930s and 1940s: Catalan cinema under the Francoist dictatorship .................. 97 2 Negotiating labels: The Dictablanda and the Escola de Barcelona ....................... 98 1980s to the millennium: Democracy and new legislation surrounding cinema: the Servei de Cinematografia and the Ley Miró ................................................................. 100 2.2. The Ley del Cine and its implications for Catalonia .............................................. 107 The Catalan Llei del Cinema (2010) ................................................................................ 109 2.3. Who decides? The role of industry bodies in Catalonia ...................................... 116 SGAE Catalunya: supporting new talent ........................................................................ 119 Catalan film schools and collaborative projects ......................................................... 122 2.4. Film festivals in Catalonia ............................................................................................... 126 ‘La finestra més internacional’: Filmets, Badalona ................................................... 131 D’A Film Festival, Barcelona .............................................................................................. 136 Chapter 3. Constructing identity in Andalusian films post-2007 ............................. 148 3.1. The other ‘Other’: Engaging with Africa in África 815 (Pilar Monsell, 2014), La fabulosa Casablanca (Manuel Horrillo, 2016) and Gurumbé. Canciones de tu memoria negra (Miguel Ángel Rosales, 2016) .................................................................................... 149 The history of Africa in the Andalusian imaginary ................................................... 150 Renegotiating the Andalusian past: The view of Africa from Andalusia .......... 155 Othered bodies: Racialised identities in Andalusia ................................................... 161 Bodies out of place: Embodying Andalusian identity............................................... 167 Personal and collective archives ...................................................................................... 173 3.2. Songs of memory: Music as archive in Alalá (Remedios Malvárez, 2016) and Gurumbé. Canciones de tu memoria negra (Miguel Ángel Rosales, 2016) ............ 183 Embodied heritage: Music as an expression of individual and collective identity ....................................................................................................................................................... 187 Payos, gitanos, y ‘otros’: integration and segregation ............................................... 191 Soundscapes of belonging: Music, place and identity .............................................. 192 Chapter 4. Constructing identity in Catalan films post-2007 .................................... 199 Convivència and Catalan identity ...................................................................................... 203 3 Place and Catalan identity ................................................................................................... 206 4.1. Looking out: Catalan festival films with the international in mind ................ 209 A model that produces results: Timecode (Juanjo Giménez, 2016) and the question of catalanitat ............................................................................................................................ 210 Corporeality and Catalan identity .................................................................................... 212 Corporeality and Timecode ................................................................................................. 213 Language and linguistic tensions in Timecode ............................................................ 215 4.2. ‘Almas errantes’: New Catalan perspectives on urban landscapes .................. 218 ‘Un cos sense ànima no és res, no?’: Deconstructing place and identity in La substància (Lluís Galter, 2016) ......................................................................................... 218 Borderlands in Barcelona in Bictor Ugo (Josep María Bendicho and Carlos Clausell, 2015) ........................................................................................................................................... 225 4.3. Place is political: Interrogating the relationship between Spain and Africa in Tarajal: desmontando la impunidad de la frontera sur (Xavier Artigas, Xapo Ortega and Marc Serra, 2015) and L’oeil impératif/El ojo imperativo (María Ruido, 2015) . 231 Conclusion.......................................................................................................................................... 249 Bibliography ...................................................................................................................................... 256 Filmography ...................................................................................................................................... 281 Words: 72,522 4 List of Figures Figure 1: Artwork for SEFF 2016 by Mariajosé Gallardo .................................................. 82 Figure 2: SEFF director José Luis Cienfuegos unveils the 2012 programme artwork in front of the Giralda. Image: ABC Sevilla.................................................................................... 83 Figure 3: SEFF branding on the steps leading up to the Nervión Plaza multiplex ... 85 Figure 4: La vida en rosa: Manuel’s title for his memoirs of his time in North Africa reveals the extent of his nostalgia ............................................................................................ 159 Figure 5: Distant threat? The coast of Africa in a border guard’s binoculars, from the closing scene of Gurumbé ............................................................................................................. 167 Figure 6: Out of place? Pedro Casablanc walks through the streets of Málaga in La fabulosa Casablanca ....................................................................................................................... 171 Figure 7: Reconfiguring family, reformulating the nation: Manuel’s fantasy family portrait in África 815 ..................................................................................................................... 176 Figure 8: A long shot frames Aurelia Martín Casares among