Manchester University Press
1 Acting for the camera in Spanish film magazines of the 1920s and 1930s
Abstract
This chapter locates specific instances in which writers, directors, and actors of the twenties referenced the actual object of the camera in relationship to Spanish film acting and performance. It further shows how, contrary to how Spaniards have been represented or have portrayed themselves throughout history, the phenomenology of technological mediation—in this case, acting—is deeply embedded in Spanish filmic culture. This chapter includes extensive archival work in order to analyse how Spanish critics of silent film regularly theorised on complex ideas concerning the need for actors to physically and psychologically adjust their performances to the requirements of the camera medium, the fragmentation and monotonisation of acting, and ultimately its commoditisation. It finally documents the ways in which the camera influenced acting styles and performances, and how the consciousness of cinemagoers participated in the policing, self-policing and racialization of subjects as readers of film magazines.
Abstract
This chapter locates specific instances in which writers, directors, and actors of the twenties referenced the actual object of the camera in relationship to Spanish film acting and performance. It further shows how, contrary to how Spaniards have been represented or have portrayed themselves throughout history, the phenomenology of technological mediation—in this case, acting—is deeply embedded in Spanish filmic culture. This chapter includes extensive archival work in order to analyse how Spanish critics of silent film regularly theorised on complex ideas concerning the need for actors to physically and psychologically adjust their performances to the requirements of the camera medium, the fragmentation and monotonisation of acting, and ultimately its commoditisation. It finally documents the ways in which the camera influenced acting styles and performances, and how the consciousness of cinemagoers participated in the policing, self-policing and racialization of subjects as readers of film magazines.
Kapitel in diesem Buch
- Front matter i
- Contents v
- List of figures vii
- Notes on contributors ix
- Acknowledgements xiii
- Introduction 1
- 1 Acting for the camera in Spanish film magazines of the 1920s and 1930s 16
- 2 Performance and gesture as crisis in La aldea maldita/The Cursed Village (Florián Rey, 1930) 42
- 3 Exaggeration and nation 59
- 4 The voice of comedy 76
- 5 The sounds of José Luis López Vázquez 96
- 6 The influence of Argentinian acting schools in Spain from the 1980s 110
- 7 Askance, athwart, aside 122
- 8 The future of nostalgia 142
- 9 Performing the nation 159
- 10 Performing sex in Spanish erotic films of the 1980s 177
- 11 Becoming Mario 189
- 12 Performing fatness 204
- 13 Disabling Bardem’s body 220
- 14 Body doubles 236
- 15 Los amantes pasajeros/I’m So Excited! (2013) 252
- Index 269
Kapitel in diesem Buch
- Front matter i
- Contents v
- List of figures vii
- Notes on contributors ix
- Acknowledgements xiii
- Introduction 1
- 1 Acting for the camera in Spanish film magazines of the 1920s and 1930s 16
- 2 Performance and gesture as crisis in La aldea maldita/The Cursed Village (Florián Rey, 1930) 42
- 3 Exaggeration and nation 59
- 4 The voice of comedy 76
- 5 The sounds of José Luis López Vázquez 96
- 6 The influence of Argentinian acting schools in Spain from the 1980s 110
- 7 Askance, athwart, aside 122
- 8 The future of nostalgia 142
- 9 Performing the nation 159
- 10 Performing sex in Spanish erotic films of the 1980s 177
- 11 Becoming Mario 189
- 12 Performing fatness 204
- 13 Disabling Bardem’s body 220
- 14 Body doubles 236
- 15 Los amantes pasajeros/I’m So Excited! (2013) 252
- Index 269
