Migrants in Contemporary Spanish Film

Clara Guillén Marín has completed a PhD in the Department of Politics, Languages and International Studies at the University of Bath, UK. Her research and teaching focuses on twentieth-and twenty-first-century Spanish documentary and fiction film, with particular interest on the representation of migration, gender and space. She is currently teaching A Level Spanish in Bristol and volunteers with a charity that supports vulnerable migrants in the city.

• 1. IntroductionPart 1: The Documentaries 2. The Construction of Dissensus in En construcción (Jose Luís Guerín, 2001)2.1 Introduction2.2 The Cinematic Construction of Dissensus2.3 The Democratics of Space and Time2.4 Migrant Identities and Contrasted Masculinities2.5 Conclusion3. Female Migration and Multiculturalism in Extranjeras (Helena Taberna, 2003)3.1 Introduction3.2 Multiculturalism within the Spanish Context3.3 Dissensus3.4. Consensus3.5. Conclusion4. Madrid from the Other Side in El otro lado…un acercamiento a Lavapiés (Basel Ramsis, 2002)4.1 Introduction4.2 Formal Devices and Authorial Voice4.3 The Biblical Intertext4.4 Spatial Contestation4.5 The Use of Music4.6 ConclusionPart II: The Fiction Films 5. Female Migrant Identities, Rural Space and Consensus in Flores de otro mundo (Iciar Bollaín, 1999) 5.1 Introduction 5.2 Flores de otro mundo as a Melodrama 5.3 Plot Influences and Contextualization of Flores de otro mundo 5.4 The Rural as a site for Spatial Contestation5.5 Restoration of the Patriarchal Order5.6 Exoticization and Sexualisation of the Caribbean Migrants5.7 Conclusion6. Morocco, Spain and the Ethical Turn in Retorno a Hansala (Chus Gutiérrez, 2008)6.1 Introduction 6.2 Retorno a Hansala, Plot and Contextualization 6.3 Return to Hansala and the Road Movie 6.4 The ‘Bare Life’ of the African Migrant 6.5 Conclusion 7. Barcelona, the Precariat and Post-Migration Cinema in Biutiful (Alejandro González Iñarritu, 2010) 7.1 Introduction 7. 2 The Precariat 7.3 Urban Landscape and Working Class Heritage 7.4 Natur