Click to increase image sizeClick to decrease image size Notes 1. For example, Jesús Rodríguez López's Supersticiones de Galicia, Antonio Fraguas y Fraguas's Galicia Insólita, María del Mar Llinares's Mouros, ánimas, demonios: el imaginario popular gallego and C. Lisón Tolosana's Brujería, estructura social y simbolismo en Galicia, all reveal the ways in which space and time intersect with death and the supernatural. 2. Though I have limited the scope of this paper to film, this image of galeguidade is found in other genres as well. In literature, Suso de Toro's novel Trece badaladas, Manuel Rivas's O lapis do carpinteiro, or En salvaxe compaña, the collection of children's stories by Xosé Miranda Ruis and Antonio Reigosa, Arrepios e outros medos; historias galegas de fantasmas y de terror. In theatre, Suso de Toro's play Unha rosa é unha rosa or José Gómez and Xosé Conde's Chicho e a Santa Compaña. I have chosen to focus on film since it is a more visual and literal representation of Galician identity as an embodied performance of living death. 3. As in Hispanic studies, within the field of Galician studies there has been an increasing interest in the spectral aspects of Galician literature and history. María do Cebreiro Rábade Villar, for example, offers an innovative reading of the ghosts of nineteenth-century poet Rosalía de Castro in her article “Spectres of the Nation” as well as her book-length monograph, Fogar impronunciable. See also E. Romero (‘Amusement’; ‘ Popular’), and S. de Toro (Parado). 4. Jon Juaristi's El bucle melancólico is probably the most articulate example of such a trend. 5. It is unclear in the film whether Franco is still in power, or if the portrait of the dictator is merely a haunting allusion to his continued social and political life even after physical death for the people of this village in Galicia. 6. It is worth noting that many of the Galician films about ghosts were originally literary works, revealing the important role that Galician literature continues to play in Galician cultural production. Trece campanadas by Xaxier Villaverde is an adaptation of Trece badaladas by Suso de Toro; El lápiz del carpintero by Antón Reixa is an adaptation of O lapis do carpinteiro by Manuel Rivas. Even Mar adentro, which I discuss below, is based on the true story of Ramón Sampedro, a Galician poet and author of Cartas desde el infierno and Cando eu caia, published posthumously. 7. Both the ánima and Fendetestas long to go abroad, reinforcing the relationship between death and emigration, as in Mamasunción and the literary works studied by Romero. 8. The role of Ramón Sampedro was played by Javier Bardem. It is ironic, perhaps fitting, that such an icon of Spanish masculinity should play a disabled Galician. Even though my reading of the film as one about ghosts and enclosure stands in direct opposition to Rafael Gumucio's argument that the film is a “comedia absurda provinciana” (88), his view of Bardem in the film as a “Don Juan tetraplégico” is suggestive, and could be interesting to think of how Galician male sexuality is represented as an incapacitated Spanish one. 9. Elisa Costa-Villaverde closely details and analyzes the Galician national elements within the film and the effect these have on our conceptions of Spanish national and regional cinemas.