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Transitional visibility in Poachers: The nature of female violence in the cinema of post‐Franco Spain

In 1975, Spain legally initiated a successful attempt to create a democratic state from the remains of its former dictatorial regime under General Francisco Franco (1939-1975). Under Franco, official representations of the national subject were based on mythical notions of Spanish history, of past moments of glory. After a full decade in power (1939-1949), state strategies of national representation began to suffer competition from oppositional efforts paving the way for alternative subjects to appear. The advent of Italian Neo-realism in Spain in the early 1950s began a trend that focused increasingly on the individual victimized by his or her circumstances, but it was not until the 1970s that female resistance to decaying power structures became more visible in filmic representations. During the initial stages of these democratic developments, representations of "transitional" females began to appear on the Spanish screen. Of particular interest here is the murderous "transitional" female protagonist of Jose Luis Borau's Poachers (Furtivos, 1975), who emerges as a marginal figure of Francoist proportions. Poachers' "transitional" female thus embodies the effort to break away from previous Francoist norms of representation in order to break into the mainstream of developing democratic cultural ideals. Despite the virtual invisibility of a female poverty-level existence within the representational norms of the cinema of pre-constitutional Spain (the constitution was ratified in 1978), Poachers is a notable exception of commercial success. In Ivan Zulueta's publicity poster for Poachers, the female protagonist Martina results dimensionally much larger and positionally higher than the other characters featured in the advertisement. This visual priority is significant, given that the