Publication: La obra cinematográfica de Josefina Molina en la historiografía del cine español. Un análisis audiovisual
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2019-04-11
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Universidad Complutense de Madrid
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Abstract
Dentro de la historiografía del cine español las directoras y su obra cinematográfica están ausentes, Barbara Zecchi (2013, p.377) se refiere a la historia de las pioneras en el cine español como la “historia de una expropiación femenina”. Pero, aunque se pueda pensar lo contrario, no sólo las pioneras han sido ocultadas e ignoradas por el discurso hegemónico de la historia, el trabajo de Josefina Molina, la ganadora del Goya de honor de 2012 y la primera mujer en obtener el título de Dirección en la Escuela Oficial de Cine (EOC), con 5 largometrajes y una carrera de más de treinta años en el mundo audiovisual apenas aparece mencionada, de hecho, en estudios relevantes, su nombre ni siquiera aparece recogido en la relación de directores españoles.Las investigaciones de Barbara Zecchi, Susan Martin-Márquez, Giulia Colaizzi o Fran Zurian, entre otros, han logrado rescatar del olvido el trabajo de Carmen Pisano, Elena Jordi o Helena Cortesina, las pioneras españolas, sin embargo, hay que ser cautos, porque la historia se sigue escribiendo y los nuevos discursos historiográficos están repitiendo el patrón de olvido y expropiación que ya se había realizado anteriormente con las siguientes generaciones e incluso las investigaciones más recientes exponen que el llamado boom de mujeres directoras de los años 2000 al 2015 no ha sido sino “un mero espejismo (frustrante)” (Zurian, 2017, p. 18)...
Within the historiography of Spanish cinema the female directors and their cinematographic work are absent, Barbara Zecchi (2013, p.377) refers to the history of the pioneers in Spanish cinema as the “story of a female expropriation”. But, although it may be thought otherwise, not only the pioneers have been hidden and ignored by the hegemonic discourse of history, the work of Josefina Molina, the winner of the 2012 Goya of Honor and the first woman to obtain the title of Director In the Official School of Cinema (EOC), with 5 feature films and a career of more than thirty years in the audiovisual world, it hardly appears mentioned, in fact, in relevant studies, its name is not even included in the list of Spanish directors.The investigations of Barbara Zecchi, Susan Martin-Márquez, Giulia Colaizzi or Fran Zurian, among others, have managed to rescue from oblivion the work of Carmen Pisano, Elena Jordi or Helena Cortesina, the Spanish pioneers, however, we must be cautious, because History continues to be written and the new historiographical discourses are repeating the pattern of forgetfulness and expropriation that had already been done previously with the following generations and even the most recent research exposes that the so-called boom of women directors from 2000 to 2015 it has been nothing but “a mere mirage (frustrating)” (Zurian, 2017, p. 18). These investigations, such as those carried out by the Association of Women Filmmakers and Audiovisual Media (CIMA), refer to gender equality in Spanish cinematographic practice, but they have not dealt with how the work of those few female directorswho have achieved their dream of directing a feature film has been reflected in the historiography of Spanish cinema...
Within the historiography of Spanish cinema the female directors and their cinematographic work are absent, Barbara Zecchi (2013, p.377) refers to the history of the pioneers in Spanish cinema as the “story of a female expropriation”. But, although it may be thought otherwise, not only the pioneers have been hidden and ignored by the hegemonic discourse of history, the work of Josefina Molina, the winner of the 2012 Goya of Honor and the first woman to obtain the title of Director In the Official School of Cinema (EOC), with 5 feature films and a career of more than thirty years in the audiovisual world, it hardly appears mentioned, in fact, in relevant studies, its name is not even included in the list of Spanish directors.The investigations of Barbara Zecchi, Susan Martin-Márquez, Giulia Colaizzi or Fran Zurian, among others, have managed to rescue from oblivion the work of Carmen Pisano, Elena Jordi or Helena Cortesina, the Spanish pioneers, however, we must be cautious, because History continues to be written and the new historiographical discourses are repeating the pattern of forgetfulness and expropriation that had already been done previously with the following generations and even the most recent research exposes that the so-called boom of women directors from 2000 to 2015 it has been nothing but “a mere mirage (frustrating)” (Zurian, 2017, p. 18). These investigations, such as those carried out by the Association of Women Filmmakers and Audiovisual Media (CIMA), refer to gender equality in Spanish cinematographic practice, but they have not dealt with how the work of those few female directorswho have achieved their dream of directing a feature film has been reflected in the historiography of Spanish cinema...
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Tesis de la Universidad Complutense de Madrid, Facultad de Ciencias de la Información, leída el 08-01-2019