While several critical works on Spanish cinema have centred on the cultural, social and industrial significance of stars, there has been relatively little critical scholarship on what stars are paid to do: act. Bringing together a range of scholars that attend carefully to the performances, acting styles, and historical influences of Spanish film, Performance and Spanish Film is the first book to place the process of Spanish acting centre stage. Comprising fifteen original essays, the book casts light on the manifold meanings, methods and influences of Spanish screen performance, from the silent era to the present day. It situates the development of Spanish screen acting in both its national and global contexts, tracing acting techniques that are largely indigenous to Spain, as well as unpicking the ways in which Spanish performance has frequently been shaped by international influences and forces. As the volume ultimately demonstrates, acting can serve as a powerful site of meaning through which broader questions around Spanish film practices, culture and society can be explored.

Eva Woods Peiró

1 Acting for the camera in Spanish film magazines of the 1920s and 1930s Eva Woods Peiró Strolling through the pages of Spanish cinema magazines of the 1920s and 1930s, the reader tours endless photographic galleries of actors, stars and objects. Poised for consumption, these choreographed images kaleidoscopically transmit what seems to be the entirety of the cinematic apparatus (industry, image, content, stars, spectators). Portable and spreadable, film magazines succinctly rendered the act of wandering through the visual panorama of city streets lined by shop

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

Hispanidad’ (2003: 41) in her analysis of national cinema,6 she falls back on explanations of escapism and the mismatch between the comedy genre and the noble poverty of the peasant –​answers she implicitly grants are insufficient –​before moving on to focus on other genres whose links with questions of nation and national identity are more easily perceived (the españolada and the military film). 60 Performance and Spanish film In this chapter, I show that scholarly engagement with the issue of screen performance –​encumbered in film studies as a whole by the

in Performance and Spanish film
Revindicating Spanish actors and acting in and through Cine de barrio
Duncan Wheeler

. Towards a genealogy of Cine de barrio In July 1995, Cine de barrio, hosted and directed by José Manuel Parada, was aired for the first time on TVE2.2 Viewing figures were better than anticipated and the programme was promoted to TVE1 in October of the same year. The films selected for inclusion did not encompass the canonical auteur-​films that emerged from the Nuevo Cine Español [New Spanish Cinema] but were, rather, examples of the so-​called Viejo Cine 144 Performance and Spanish film Español [Old Spanish Cinema], commercial comedies and light dramas that

in Performance and Spanish film
Abstract only
Rob Stone

There is no such thing as Spanish film noir. At least there is none to speak of until after the death of General Franco in 1975. During the forty years of the fascist dictatorship film noir was a bête noire , unable to show its face for fear of reprisals on its perpetrators. How could there have been moral ambiguity in a society in which education and entertainment were dominated by rigid Catholic

in European film noir
Abstract only
Approaching performance in Spanish film
Dean Allbritton, Alejandro Melero and Tom Whittaker

Introduction: approaching performance in Spanish film Dean Allbritton, Alejandro Melero and Tom Whittaker The importance of screen acting has often been overlooked in studies on Spanish film. While several critical works on Spanish cinema have centred on the cultural, social and industrial significance of stars, there has been relatively little critical scholarship on what stars are paid to do: act. This is perhaps surprising, given the central role that acting occupies within a film. In his essay ‘Why Study Film Acting?’, Paul McDonald argues that acting is not

in Performance and Spanish film
Carmen Ciller

6 The influence of Argentinian acting schools in Spain from the 1980s Carmen Ciller During the 1970s, the Spanish film and television industry welcomed Argentinian actors and actresses, who were escaping from General Jorge Rafael Videla’s dictatorship, which had started with the coup of 1976 and coincided with the Spanish transition to democracy. The first wave consisted of actors such as Hector Alterio, Hector Colomé, Norma Aleandro and Marilina Ross; the second wave followed soon after, with Ricardo Darín, Daniel Freire and Federico Luppi. Decades afterwards

in Performance and Spanish film
Vocal performance, gesture and technology in Spanish film
Tom Whittaker

5 The sounds of José Luis López Vázquez: vocal performance, gesture and technology in Spanish film Tom Whittaker To speak of the late actor José Luis López Vázquez is to speak of the history of Spanish sound acting. Alongside his characteristically manic gestures, López Vázquez’ was widely known for his distinctive style of vocal performance. Indeed, his last dramatic role in 2009 was that of a disembodied voice. López Vázquez was originally commissioned to provide the voice-​over for Pedro Olea’s theatrical adaptation of the film El pisito/​The Little Apartment

in Performance and Spanish film
Mannerism and mourning in Spanish heritage cinema
Sally Faulkner

Bautista herself in La tía Tula/​Aunt 160 Performance and Spanish film Tula (1964) and draws from her a performance designed to repress and contain the excessive style associated with her earlier career –​a mode of repression and containment that conveys her character Tula, the unfulfilled provincial spinster, particularly well (Faulkner 2006:  101–​24). A decade later, Víctor Erice, who was also trained at the EOC, made the iconic child-​protagonist art movie, El espíritu de la colmena/​The Spirit of the Beehive (1973). While Fernán Gómez or Bautista, directed by

in Performance and Spanish film
The performance of disability and illness
Dean Allbritton

divisible as many of us might wish. What occurs in on-​screen performances of illness and disability, then, is often the re-​performance of an expectation. Casting a healthy body (like that of Javier Bardem) 222 Performance and Spanish film in roles defined by their proximity to illness and disability requires a complex process that utilises stardom, health and a shared belief of the ‘unnaturalness’ of being and staying sick.3 Javier Bardem’s physicality has long been appraised, admired and (albeit less frequently) critically called into question. Chris Perriam has

in Performance and Spanish film