The Mediterranean movida and the passing away of Francoist Barcelona
Ocana. Retrat Intermitent/Ocana. An Intermittent Portrait, directed by Catalan filmmaker Ventura Pons in 1977, that is, at the height of the Barcelona movida sometimes referred to as the l.libertari, is highly representative of the impulse for renewal in Transition cinema and the attempt to document the new social reality. This chapter provides contexts and frameworks for the understanding of the film both in historical terms and in the way it engages with issues later developed by gender studies. In the 1970s, certain nineteenth-century mythologies of the Mediterranean as the locus of sensuality were very prominent in Catalan cultures. From the beginning of the film, José Ocaña questions why people wear clothes at all and it seems as if his 'stripteases' are designed to provoke. Ending on this note, Pons is underlining the most controversial aspect of his character and confirming a libertarian point of view for the film.
Performance and persona adaptation in Mario Casas’s career
This chapter looks at the body of work of one of Spain’s most ubiquitous young stars. Analysing Mario Casas’s on- and offscreen performances of masculinity and the role that his star persona plays in his filmography, it argues that the actor’s career has revolved around his carefully sculpted physique and behaviour—and that Casas is indicative of a new generation of young male stars in Spain. As ‘The Great Hope of Spanish Cinema’, Casas comes to represent a shift in public perceptions of manhood and is evocative of a new type of manufactured, cinematic masculinity. With ties to the work of Susan Bordo and Richard Dyer, this chapter underscores the importance of physicality to Casas’s performance of masculinity, as made evident in his iconic roles in films such as Tres metros sobre el cielo/Three Steps Above Heaven (Fernando González Molina, 2010) and Tengo ganas de ti I Want You (Fernando González Molina, 2012).