Sally Faulkner
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Conclusion
Cecilia Bartolomé and the incomplete history of Spanish cinema
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This conclusion suggests two ways of interpreting Bartolomé’s career. The first is subtitled ‘Feminist Auteur’, as the book argues for the inclusion of her name among those far better-known figures, in both national and international contexts, to whom this label has been attached. In Spain, these would include the generation that came into prominence in the 1990s, like Icíar Bollaín, Isabel Coixet and Chus Gutiérrez; internationally, her contemporaries, Claire Denis, Euzhan Palcy and Agnès Varda. This first conclusion argues furthermore for the ‘rose’ and ‘blue’ demarcations for her career that have previously been applied to canonical Spanish artists. The second defends the urgent inclusion of Bartolomé in histories of Spanish cinema not in spite of the fact her work is incomplete, but, in fact, precisely because of it. Bartolomé’s career may be incomplete, with countless projects stymied by censorship, a fraction of which this volume has attempted to recover in its exploration, in Chapter 3, of 1970s unfilmed scripts. If her career is darkened by the shadows, or haunted by the ghosts, of her unmade work; it also argues that so is the history of Spanish cinema.

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The cinema of Cecilia Bartolomé

Feminism and Francoism

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