Performance and Spanish film

290 Pages·2016·32.006 MB·English

by  Dean Allbritton (editor), Alejandro Melero (editor), Tom Whittaker (editor)

Performance and Spanish film

Performance and

Spanish film
Edited by Dean Allbritton, Alejandro Melero
and Tom Whittaker

Manchester University Press
Copyright © Manchester University Press 2016
While copyright in the volume as a whole is vested in Manchester University Press, copyright
in individual chapters belongs to their respective authors, and no chapter may be reproduced
wholly or in part without the express permission in writing of both author and publisher.
Published by Manchester University Press
Altrincham Street, Manchester M1 7JA
www.manchesteruniversitypress.co.uk
British Library Cataloguing- in- Publication Data
A catalogue record for this book is available from the British Library
Library of Congress Cataloging- in- Publication Data applied for
ISBN 978 0 7190 9772 0 hardback
First published 2016
The publisher has no responsibility for the persistence or accuracy of URLs for any external or
third- party internet websites referred to in this book, and does not guarantee that any content
on such websites is, or will remain, accurate or appropriate.
Typeset by Out of House Publishing
Contents

List of figures page vii

Notes on contributors ix

Acknowledgements xiii

Introduction: approaching performance in Spanish film 1

Dean Allbritton, Alejandro Melero and Tom Whittaker
1 Acting for the camera in Spanish film magazines of the
1920s and 1930s 16

Eva Woods Peiró
2 Performance and gesture as crisis in La aldea maldita/
The Cursed Village (Florián Rey, 1930) 42

Sarah Wright
3 Exaggeration and nation: the politics of performance in
the Spanish sophisticated comedy of the 1940s 59

Stuart Green
4 The voice of comedy: Gracita Morales 76

Kathleen M. Vernon
5 The sounds of José Luis López Vázquez: vocal performance,
gesture and technology in Spanish film 96

Tom Whittaker
6 The influence of Argentinian acting schools in Spain from
the 1980s 110

Carmen Ciller
7 Askance, athwart, aside: the queer plays of actors,
auteurs and machines 122

Brad Epps
8 The future of nostalgia: revindicating Spanish actors
and acting in and through Cine de barrio 142

Duncan Wheeler
vi Contents
9 Performing the nation: mannerism and mourning in
Spanish heritage cinema 159

Sally Faulkner
10 Performing sex in Spanish erotic films of the 1980s 177

Alejandro Melero
11 Becoming Mario: performance and persona adaptation
in Mario Casas’s career 189

Alberto Mira
12 Performing fatness: oversized male bodies in recent
Spanish cinema 204

Santiago Fouz- Hernández
13 Disabling Bardem’s body: the performance of disability
and illness 220

Dean Allbritton
14 Body doubles: the performance of Basqueness by
Carmelo Gómez and Silvia Munt 236

Rob Stone
15 Los amantes pasajeros/ I’m So Excited! (2013):
‘performing’ la crisis 252

Maria M. Delgado
Index 269
Figures

1. ‘En el estudio de Clarence Sinclair: El fotógrafo artista
de las “star” yanquis’, Cinegramas, 4, 30 September
1942, p. 42. page 20

2. ‘Fotos de héroes’, La Pantalla, 55, 1929, p. 924. 21

3. Amelia Muñoz as Magdalena in La aldea maldita
(Florián Rey, 1930). Florián Rey- Pedro Larrañaga
Productores. 47

4. ‘Sssshhhh’: Carmen Viance as Acacia in Florián Rey’s
La aldea maldita (Florián Rey 1930). Florián Rey- Pedro
Larrañaga Productores. 50

5. Sandalia (Guadalupe Muñoz Sampedro) explains to
Nazario (Juan Espantaleón) why she left him at the altar.
Tuvo la culpa Adán (Juan de Orduña, 1943), CIFESA
(image reproduced by kind permission of Video
Mercury Films). 63

6. Germán (Rafael Durán) argues on the telephone with
Marisa about why he did not turn up to their wedding.
Tuvo la culpa Adán (Juan de Orduña, 1943), CIFESA
(image reproduced by kind permission of Video
Mercury Films). 66

7. Culture clash: the ‘chacha’ Petra (Gracita Morales)
kneels at the sound of the dinner bell in Chica para todo
(1963). Mariano Ozores Productores y Distribuidores
Asociados S.L. 85

8. To become a femme fatale: Gracita Morales performs a
parody of hypersexual femininity in Operación cabaretera
(1967). Mariano Ozores Izaro Films, S.A. 90

9. Concha Velasco discusses Amor bajo cero with Tony
Leblanc on Cine be barrio (14 January 2012). RTVE. 149
viii List of figures
10. The presence of Alatriste (Viggo Mortensen) undermines the
opulent settings surrounding him (Agustín Díaz Yanes, 2006).
Estudios Picasso, Origen Producciones Cinematogáficas S.A.,
NBC Universal Global Networks. 168

11. The emergence of Mario the rock in Tres metros sobre el
cielo (Fernando González Molina, 2010). Antena 3 Films. 196

12. Hache (Mario Casas) and Babi (María Valverde) in the
moonlight. Tres metros sobre el cielo (Fernando González
Molina, 2010). Antena 3 Films. 198

13. Santiago Segura in the title credits of Torrente 2: Misión en
Marbella (Santiago Segura, 2001). Amiguetes Entertainment
and Lola Films. 211

14. Antonio de la Torre in Gordos (Daniel Sánchez Arévalo,
2009). Canal + España, Filmanova, Gobierno de Cantabria,
Instituto de Crédito Oficial (ICO), Instituto de la
Cinematografía y de las Artes Audiovisuales (ICAA),
Televisión española (TVE), Tesela Producciones
Cinematográficas. 214

15. Tío (Carmelo Gómez) and Madre (Silvia Munt) toast their
marriage in Secretos del corazón (Montxo Armendáriz,
1997). Aiete Films S.A., Ariane Films, Canal+ France,
D.M.V.B. Films, Eurimages, Euskal Media, Fábrica de
Imagens, Instituto de la Cinematografía y de las Artes
Audiovisuales (ICAA), Sogepaq. 248

16. The three flight attendants Fajas (Carlos Areces), Ulloa
(Raúl Arévalo) and Joserra (Javier Cámara), entertain the
passengers in business class with a perfectly choreographed
dance routine that harks back to the Hollywood musical.
Los amantes pasajeros/ I’m So Excited! (Pedro Almodóvar,
2013). El Deseo. 258