Search

The film industry remains a male-dominated sector, particularly in managerial, creative, and technical positions. In this context, we explore the work of female directors in Spanish cinema concerning ETA terrorism (1977-2023) to observe and assess the contribution of women in a doubly masculine environment: film direction and terrorist violence. Within the framework of the so-called “battle of the narrative” and film and gender studies, and based on a qualitative methodology involving textual analysis of feature films and the study of existing literature, we trace the presence and voice of female directors. We investigate who they are, their number, and their contribution to cinema concerning ETA and Spanish cinema in general. We examine the stories, genres, and themes they choose and the perspectives from which they approach them. We consider both the form and contextual issues related to the production and reception of their works. The results show that female directors are a minority in films about terrorism in Euskadi. We conclude that their work can be seen as a disruption in an adverse environment. They prefer genres such as drama or documentary, focus on a human perspective, several depict real or based-on-true-events stories featuring strong, free female protagonists, and several works approach the stories of victims. They feature characters, predominantly female, who defy stereotypes. Overall, they contribute to the memory of past events with a critical view of violence. [ABSTRACT FROM AUTHOR]

Copyright of Asparkía. Investigació Feminista is the property of Instituto Universitario de Estudios Feministas y de Genero Purificacion Escribano and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Revista Fotocinema is the property of Revista Fotocinema and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Spanish cinema is a masculinized industry where the percentage of professional women is very low. Although the figures show a significant gender gap, positive changes have been seen in the last decade. This research analyzes the factors that have allowed these changes in the Spanish film industry. Data will be offered that support the effectiveness of positive discrimination measures and quotas established in the Film Law since 2017 and other policies and initiatives, both public and private, that try to promote female creativity in Spanish cinema will be reported. [ABSTRACT FROM AUTHOR]

Copyright of Área Abierta is the property of Universidad Complutense de Madrid and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)