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Mapping female subjectivity for the turn of the millennium
Jo Evans

This chapter takes Bruno's theoretical metonym as a starting point for examining Icíar Bollain's deceptively transparent film narratives. Like the fictional 'Carte du Pays de Tendre', Bollaín's mises-en-scène map her characters' movement through contemporary Spain with narratives that give precedence to geographical and emotional journeys: Hola ¿estás sola? follows two young women's attempt to find work on the south coast and in Madrid; Flores de otro mundo explores female migration; and Te doy mis ojos, domestic abuse. The titles of these films play an integral part in this 'mapping', or rather, this remapping of women: each of them is associated with a gendered cliché that is subverted by Bollaín's co-scripted, open-ended narratives. It is the gift for social documentation, entertainment, collaborative transparency and the engaging of affect that suggests Madeleine de Scudéry's haptic map as a metonym for the way that Bollaín's first three films 're-map' turn-of-the-millennium female subjectivity.

in Hispanic and Lusophone women filmmakers
From Goya’s dining room via Apocalypse Now
Jo Evans

Julio Medem's Vacas/Cows follows the development of a feud between two families who live on a Basque hillside separated by a mysterious forest. Although the film evoked mixed critical response, it went on to win numerous awards including the Goya for 'Best New Director'. This chapter uses Goya's paintings, Saturn and Leocadia, and Coppola's Apocalypse Now to re-examine two confusing aspects of the film: the self-reflexive cinematography that is epitomised by the zoom through the cow's eye, and the reappearance of the same male actors in different generations. It presents an intertextual rereading that also sheds light on Medem's controversial comment: that the 'worst form of fascism is internal'. The chapter provides reasons for proposing that Vacas might usefully be reread via Goya and Coppola. The enigmatic shot of a cow's eye has come to function as a metonym for Vacas' attempt to expose the 'horror' of men consuming men.

in Spanish cinema 1973–2010