La obra cinematográfica de Josefina Molina en la historiografía del cine españolun análisis audiovisual

Abstract

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...