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This article analyses the relationship between subject and space in the trilogy on the Spanish Civil War of the Mexican-Catalan writer Jordi Soler:La guerra perdida [The lost war]:Los rojos de ultramar(2004),La última hora del último día(2007) andLa fiesta del oso(2009).Drawing on the concepts of ‘(de/re)territorialization’ theorized by Rogério Haesbaert, it studies how different types of mobility — exile, migration and voluntary isolation — relate to various modes of territorialization in these novels. This analysis shows how the relation to territory, as an ever-present theme in the work of Soler, is conceived not only on the level of power or political and economic domination and in terms of identity or cultural-symbolical ‘appropriation’, but also in a broader moral sense. [ABSTRACT FROM PUBLISHER]

Este ensayo analiza la película de Pedro Almodóvar, Todo sobre mi madre (1999), a la luz de las teorías filosóficas de Gilles Deleuze y Félix Guattari así como el estudio sobre cine de Deleuze, para mostrar el potencial de esta obra para promover un acercamiento a la realidad que va más allá de las categorías epistemológicas tradicionales. Esta fuerza 'desterritorizadora' radica, por un lado, en la naturaleza especular del film, y, por otro, en la creencia expuesta por Almodóvar de la capacidad innata de las mujeres para la actuación. El énfasis del director en el potencial de algunas personas no de mentir sino de devenir en otros reivindica 'la potencia de lo falso' como una fuerza creadora. La especularidad visual y argumental de esta obra convierte lo virtual y lo actual en indiscernibles a la vez que establece una narración 'esencialmente falsificante' donde la verdad no puede ser alcanzada, sólo puede ser creada. This article analyses Pedro Almodóvar's film, All about my Mother (1999), from the perspective of Gilles Deleuze and Félix Guattari's philosophical and cinemati­c theories to expose the film's potential to promote a different understanding of reality beyond traditional epistemological categories. The film's deterritorializing force rests, on the one hand, on its specular nature, and, on the other, on Almodóvar's belief in women's innate abilities for acting. All about my Mother's emphasis on some people's potential not to lie but to become other vindicates 'the potential of the false' as a creative force. The impossibility of distinguishing between 'the virtual' and 'the actual' due to the film's visual and plot specularity establish an 'essentially falsifying' cinematographic narration, where truth cannot be achieved but has to be created. [ABSTRACT FROM AUTHOR]