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Performance in the contemporary biopic

There is no film genre to which performance is as crucial as it is to the biopic. The genre’s appeal lies in seeing an actual person who did something interesting in life, known mostly in public, transformed into a character. Private behaviours and actions and public events as they might have been in the person’s time are formed together and interpreted dramatically. At the heart of the biopic is the

in Genre and performance
Mannerism and mourning in Spanish heritage cinema

theatre performance and film performance (1968:  93–​4). In theatre, Kracauer argues, the actor uses ‘theatrical devices … make-​up, appropriate gestures and voice inflections’ (1968: 93); in film, he or she ‘must act as if he did not act at all but were a real-​life person caught in the act by the camera. He must seem to be his character’ (1968: 94–​5). A logical extension of this stress on ‘real life’, which ‘redeems physical reality’, would be to prize the untaintedness of non-​professional actors or, better still, the spontaneity of children (1968: 98). Spanish art

in Performance and Spanish film
The politics of performance in the Spanish sophisticated comedy of the 1940s

3 Exaggeration and nation: the politics of performance in the Spanish sophisticated comedy of the 1940s Stuart Green Introduction It is perhaps not surprising that the ideologically charged atmosphere of the decade immediately following the Spanish Civil War is reflected in academic studies of the cinema of this period. On the one hand, there is a wealth of scholarly analyses of the military and historical epics subsidised by state institutions.1 This is accompanied by approaches to the españolada (folkloric film) rooted in popular theatrical forms, sometimes

in Performance and Spanish film
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Gesture under pressure

Noting that film ‘genres circumscribe the form and position of performance’ in discrete ways, in the 1980s Richard de Cordova identified the need for ‘a general account of performance and its role within an economy of genres’ (1986: 129, 138). Before his untimely passing, de Cordova began that account by outlining examples of acting choices in ‘the western, film noir, and the melodrama’ that

in Genre and performance
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Oversized male bodies in recent Spanish cinema

12 Performing fatness: oversized male bodies in recent Spanish cinema Santiago Fouz-​Hernández Every actor undergoes a certain degree of physical transformation in preparation for a role. This could be as simple as changing hairstyle or as drastic as completely altering body shape. Regardless of the complexity of the makeover, this very physical aspect of characterisation is undoubtedly a major part of any performance. Major body transformations are often highlighted in the advertising campaigns of some films as a means to attract audiences. In biopics, for

in Performance and Spanish film

not yet reached Spain, and a deep study of the complexities of performing sex on screen is still needed. This chapter studies the performance of sex in Spanish films of the early 1980s, a crucial time for the understanding of visual representations of sexuality in Spain. In the last years of Franco’s dictatorship, the destape shaped the production of all film genres. Sexual scenes and motifs were expected in comedies such as those of the ‘landismo’ trend, or horror films such as La noche de Walpurgis/​The Night of Walpurgis (León Klimovsky, 1971). In the years after

in Performance and Spanish film
The queer plays of actors, auteurs and machines

Performance and Spanish film citizens to imagine as forever potential. So, along with the threat of transformation, indeed as its very condition of possibility, there is the imagination. This imagined, imaginary transformation in private, dependent on the public perception of acts and appearances as signifying something essential, is just what Pedro’s doting mother all but takes as an article of faith when her son, who still lives with her, goes to Antón’s apartment to treat his neighbour for a toothache, an area of medicine –​and of the body –​beyond his explicit

in Performance and Spanish film

Donne and to be done (Saunders, 2006: 3–4). By approaching his writings as denominationally more or less neutral performances, I have refrained from assigning Donne to any particular religious confession. I have taken care to avoid projecting on to him any of my own convictions, and creating a Donne in the image of my own religious desires. Such evasion is, of course, not a virtue in itself, and one may criticise my reading precisely because it fails to take a stand with regard to Donne’s religious allegiances – undoubtedly one of the most relevant, if most contested

in John Donne’s Performances
The performance of disability and illness

13 Disabling Bardem’s body: the performance of disability and illness Dean Allbritton In many Western societies, the logic is as follows: our natural biological state is a healthy one. That is, health is who we are and illness and disability are the less desirable, temporary or inauthentic versions of ourselves; they represent roles that we must suffer through, or passing identities that must be endured until we return to good health. Clinging to the temporality of illness and disability –​even when the problem is not so temporary, even when it sticks around as

in Performance and Spanish film
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Performance and persona adaptation in Mario Casas’s career

11 Becoming Mario: performance and persona adaptation in Mario Casas’s career Alberto Mira For the 2007–​13 period, Mario Casas was his generation’s most popular actor in Spain. A home run in the box office that included such mega-​hits as Mentiras y gordas/​Sex, Parties and Lies (Alfonso Albacete and David Menkes, 2009), Fuga de cerebros/​ Brain Drain (Fernando González Molina, 2009), Tres metros sobre el cielo/​Three Steps Above Heaven (Fernando González Molina, 2010) (also known as 3MSC), Tengo ganas de ti/​I Want You (Fernando González Molina, 2012) and Las

in Performance and Spanish film