This chapter looks at three actors who have gained weight for roles—Javier Bardem, Santiago Segura, and Antonio de la Torre—in order to discuss the role of fatness and fat masculinities in their performances. The substantial weight gain of each actor in all three films becomes a metric for understanding the way that their bodies are represented, filmed, and discussed. The chapter questions the limits of performance and acting, particularly when the body one inhabits is so drastically altered for a role. These physical alterations between the actors’ general appearance and their personal appearances, in turn, negatively mark the masculinity of their characters, the chapter argues.
Transgender performance and the national imaginary in the Spanish cinema of the democratic era
Ian Biddle and Santiago Fouz-Hernández
This chapter examines some of the ways in which the use of popular and traditional songs by transgendered performers in a selection of iconic post-Franco Spanish films impacts on cinematic, narrative and identificatory structures in those films. It asks how the work of song and the reworking of gendered stereotypes are played out in relation to each other. The chapter sets out both to elaborate some of the specific mechanisms of what might be termed 'song work' in these films and to re-examine the oft-made assertion that, in Spanish culture after Franco, transgender performative camp comes to stand for the Spanish Transition to democracy itself. It provides an analysis of three films in various ways with the relationships between transgression and the boundary. The films are Ocaña: Retrat intermittent, La mala educación, and 20 centímetros.