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.
Inhaltsangabe
1. Introduction Part 1: The Documentaries 2. The Construction of Dissensus in En construcción (Jose Luís Guerín, 2001) 2.1 Introduction 2.2 The Cinematic Construction of Dissensus 2.3 The Democratics of Space and Time 2.4 Migrant Identities and Contrasted Masculinities 2.5 Conclusion 3. Female Migration and Multiculturalism in Extranjeras (Helena Taberna, 2003) 3.1 Introduction 3.2 Multiculturalism within the Spanish Context 3.3 Dissensus 3.4. Consensus 3.5. Conclusion 4. Madrid from the Other Side in El otro lado...un acercamiento a Lavapiés (Basel Ramsis, 2002) 4.1 Introduction 4.2 Formal Devices and Authorial Voice 4.3 The Biblical Intertext 4.4 Spatial Contestation 4.5 The Use of Music 4.6 Conclusion Part 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 Contestation 5.5 Restoration of the Patriarchal Order 5.6 Exoticization and Sexualisation of the Caribbean Migrants 5.7 Conclusion 6. 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 Nature, Religion and Uxbal's Experience of the City 7.5 Gender and Ethnicity 7.6 Conclusion 8. Conclusion
1. Introduction Part 1: The Documentaries 2. The Construction of Dissensus in En construcción (Jose Luís Guerín, 2001) 2.1 Introduction 2.2 The Cinematic Construction of Dissensus 2.3 The Democratics of Space and Time 2.4 Migrant Identities and Contrasted Masculinities 2.5 Conclusion 3. Female Migration and Multiculturalism in Extranjeras (Helena Taberna, 2003) 3.1 Introduction 3.2 Multiculturalism within the Spanish Context 3.3 Dissensus 3.4. Consensus 3.5. Conclusion 4. Madrid from the Other Side in El otro lado...un acercamiento a Lavapiés (Basel Ramsis, 2002) 4.1 Introduction 4.2 Formal Devices and Authorial Voice 4.3 The Biblical Intertext 4.4 Spatial Contestation 4.5 The Use of Music 4.6 Conclusion Part 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 Contestation 5.5 Restoration of the Patriarchal Order 5.6 Exoticization and Sexualisation of the Caribbean Migrants 5.7 Conclusion 6. 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 Nature, Religion and Uxbal's Experience of the City 7.5 Gender and Ethnicity 7.6 Conclusion 8. Conclusion
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