Acknowledgements
Preface

Introduction
1. From prohibition to clear exhibition: how to read into these film-images?
I. Exposing prohibition
II. The body as witness
III. Updating the archetype
2. The liberation of women
I. Flunking Out (Asignatura pendiente, 1977): breaking through a forbidden topic of the past
II. The “Spanish” Carmen by Carlos Saura
III. High Heels (Tacones lejanos, 1991): a mother walks away
IV. General conclusion on the three films
3. The homosexual body on stage
I. Sex Change (Cambio de sexo, 1977): rejecting the homosexual body
II. The Deputy (El diputado, 1978): the political body
III. The Death of Mikel (La muerte de Mikel, 1983): becoming visible
IV. Desire became the law in 1987
V. Masculinity and homosexuality
4. The delinquent’s body out of focus
I. Hurry, Hurry (Deprisa, deprisa, 1981): faster than time
II. El Lute: A mythological figure is born in the 1960s
III. Running out of Time (Días contados, 1994): drug addiction and terrorism
IV. Conclusion: historicising evil through mythological figures
Conclusion

Notes
Bibliography
Photography credits
Index

“Feenstra's analyses are a significant contribution to the scholarly dialogue about contemporary Spanish film and its representations of defiance and the recuperation of cultural identity in the decades following Franco’s death…A model for the analysis of cinematic narrative, hers should offer special interest to students of Spanish film and Spanish history.” --Dr. Richard K. Curry, Editor, Cine y Revista de estudios interdisciplinarios sobre cine en español.“This is a substantial new contribution to the cultural study of post-Franco Spain. It traces in sparkling detail the passage from dissidence and marginalisation to scandalous centrality through the body's signifying practices on screen. Its preoccupation with visibility and ideological change gives it a special topical pertinence.”—Chris Perriam, Professor of Hispanic Studies, University of Manchester.“Here is a “book of passion” on the metamorphoses of post-Francoist Spain as it catapulted into the contemporary world (1975-1995). It is a book that questions the power of myths expressed through passionate bodies, in particular bodies who for too long were marginalized in traditional societies.”-- Michèle Lagny, professor of the history of culture at the Université de Sorbonne Nouvelle Paris III.A well researched study on post-Franco cinema, that breaks new ground in Spanish film studies by introducing contemporary French theories on myths and stereotypes into the field; of particular interest is the way in which it shows how stereotypes function in a context of political change.(Nadia Lie, University of Louvain (KULeuven), Belgium)Pietsie Feenstra’s new book makes a significant and welcome contribution to the field of Spanish cultural studies. In her mapping of the evolution of the body as it both marks film and is, in turn, marked by film, Feenstra offers a set of insightful and original readings that will challenge contemporary Spanish historiography and add to the growing corpus of work on Spanish cinema.Steven Marsh, Assistant Professor of Latin American and Peninsular Studies at the University of Illinois at Chicago