Received wisdom of the Movida casts its culture as frivolous and politically disengaged. How, then, does Patricia Gadea’s politicized work, so often excluded from the Movida canon, fit in among the supposedly apolitical cultural production of the period? What does her work tell us about how the Movida has been canonized?
Patricia Gadea, 1960-2006
Mapping the Movida: A Digital Humanities Project 