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Pedro Almodóvar’s transnational imaginary
Carla Marcantonio

fatales, identities constructed outside the bounds of the nuclear family – the family at the centre of the discursive strategies of the nation and the affective nexus dramatised by the melodramatic mode. Furthermore, the transvestite characters in each of these films provide a figure of embodiment for these transnational articulations informed, in part, by their iconographic status as femme fatales

in Contemporary Spanish cinema and genre

A generation ago, Spain was emerging from a nearly forty-year dictatorship. This book analyses the significant changes in the aesthetics, production and reception of Spanish cinema and genre from 1990 to the present. It brings together European and North American scholars to establish a critical dialogue on the topic of contemporary Spanish cinema and genre while providing multiple perspectives on the concepts of national cinemas and genre theory. The book addresses a particular production unit, the Barcelona-based Fantastic Factory as part of the increasingly important Filmax group of companies, with the explicit aim of making genre films that would have an appeal beyond the Spanish market. It explores the genrification of the Almodovar brand in the US media and cinematic imaginary as a point of departure to tackle how the concepts of genre, authorship and Spanish cinema itself acquire different meanings when transposed into a foreign film market. Melodrama and political thriller films have been a narrative and representational form tied to the imagining of the nation. The book also examines some of the aspects of Carícies that distinguish it from Pons's other entries in his Minimalist Trilogy. It looks briefly at the ways in which the letter acts as one of the central melodramatic gestures in Isabel Coixet's films. After an analysis of the Spanish musical from the 1990s until today, the book discusses Spanish immigration films and some Spanish-Cuban co-productions on tourism and transnational romance.

Stage Beauty as a cerebral retort to Hollywood
Sarah Martindale

Released six years after Shakespeare in Love won Best Picture Oscar, Stage Beauty (Eyre, 2004) portrays Shakespearean performance history at the point in the Restoration when female impersonators were replaced by actresses on the English stage. Given the similarities between the two films, it comes as no surprise to find that the press response to Stage Beauty made frequent comparisons, describing it as: ‘bitchy half-sister to Shakespeare in Love’; ‘Shakespeare in Love II’; and ‘Shakespeare in Love for transvestites’. Those involved in making Stage Beauty were keen to differentiate its cinematic qualities. The film was adapted by Jeffrey Hatcher from his stage play Compleat Female Stage Beauty, and directed by Richard Eyre, a former artistic director of the National Theatre. This chapter examines the textual features that mark this film out as a serious-minded depiction of theatrical heritage and gender play, along with the reception discourses that the film stimulated. It also considers possible barriers to cultural engagement with Shakespeare as manifested in ‘art cinema’ with reference to audience research.

in British art cinema
Abstract only
Carrie Tarr

playing into the majority population’s fantasies of the potency of the heterosexual beur male, preferring to maintain an image of the beur as a lovable loser. They are also unwilling to address other issues related to sexuality. With the important exceptions of Miss Mona and Origine contrôlée (which each set up a mixed-race white/Algerian same-sex male couple), gays, transvestites and prostitutes of Maghrebi origin are to be found only in films by white

in Reframing difference
Rowland Wymer

Christmas robes. The young men are then seeing carrying a large cross over the shingle, watched by sinister figures in penitential hoods, while a transvestite Mary Magdalene kisses their feet. Beside a lonely cottage, sheets on a line flap in the wind, ghostly in the twilight. The track-suited jogger once more encounters Christ on the road, blows his whistle, points to his head, and runs on, with only a brief backward glance. In a final tableau

in Derek Jarman
Abstract only
Guy Austin

encapsulates this deterioration: repressed and arrogant, he becomes increasingly intolerant and foul-mouthed, rejecting the transvestite Katia (Christian Clavier) and the Bulgarian neighbour Preskouitch (Bruno Moynot) with ferocity and something close to terror. Pierre represents a fear of difference, be it sexual or cultural. The one constant in his characterisation is the catchphrase ‘C’est c’la-a-a, oui-i-i’ [ye

in Contemporary French cinema
From Le Thé au harem d’Archimède to Cheb
Carrie Tarr

.) In Miss Mona , the French male transvestites, prostitutes and homosexuals who people the film are viewed in part through the innocent eyes of Samir (Ben Smaïl), an illegal North African immigrant who in desperation forms a reluctant and uneasy alliance with the ageing Mona (Jean Carmet). Samir is desperate to earn money to send to his family back home and to get a false identity card so that he will not be harrassed by the police. Having lost his job in a

in Reframing difference
From Le Raïd to Jeunesse dorée
Carrie Tarr

nightmare experiences of Patrick (Patrick Ligardes), an unemployed middle-class white man dressed in drag for a fancy-dress party who, after a series of misunderstandings, gets mistaken for an illegal Algerian immigrant transsexual (also later wanted for murder), finds himself thrown in jail overnight with Youssef (Atmen Kelif), a beur , and Sophia (Ronit Elkabetz), an Algerian prostitute (who later reveals that she is a male transvestite and

in Reframing difference
From Le Thé à la menthe to La Fille de Keltoum
Carrie Tarr

Ahmed and Zakia Bouchaala’s Origine contrôlée (though the film’s transvestite immigrant prostitute eventually emerges as a survivor). In contrast, the émigré filmmakers take a more light-hearted approach, constructing Maghrebi immigrants/visitors as likeable, streetwise young people, from Bahloul’s Le Thé à la menthe and Allouache’s Un amour à Paris in the 1980s to Allouache’s Salut cousin! in the 1990s, a film which can be compared

in Reframing difference
The Mediterranean movida and the passing away of Francoist Barcelona
Alberto Mira

questioning the neatness of classical narrative structures. In thematic terms, police authority and religious bigotry are rendered unthreatening or ridiculed and their power effectively limited; sexuality is praised and identities anything but stable: this was the age in which transvestites and transsexuals seemed to reign in the media, their fascination linked to ambivalence or fluidity, although José Ocaña himself, Pons

in Spanish cinema 1973–2010