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Masculinities at Work: Men, Masculin...

Rivera, Renee Patricia.

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Masculinities at Work: Men, Masculinities, and Employment in the Spanish Popular Comedies of the Late-Francoist and Transition Eras.

Record Type:	Electronic resources : Monograph/item
Title/Author:	Masculinities at Work: Men, Masculinities, and Employment in the Spanish Popular Comedies of the Late-Francoist and Transition Eras./
Author:	Rivera, Renee Patricia.
Published:	Ann Arbor : ProQuest Dissertations & Theses, : 2020,
Description:	205 p.
Notes:	Source: Dissertations Abstracts International, Volume: 82-01, Section: A.
Contained By:	Dissertations Abstracts International82-01A.
Subject:	Film studies. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=28001947
ISBN:	9798617071339

Masculinities at Work: Men, Masculinities, and Employment in the Spanish Popular Comedies of the Late-Francoist and Transition Eras.
Rivera, Renee Patricia.

Masculinities at Work: Men, Masculinities, and Employment in the Spanish Popular Comedies of the Late-Francoist and Transition Eras. - Ann Arbor : ProQuest Dissertations & Theses, 2020 - 205 p.

Source: Dissertations Abstracts International, Volume: 82-01, Section: A.

Thesis (Ph.D.)--University of California, Los Angeles, 2020.

This item must not be sold to any third party vendors.

This dissertation examines the relationship between masculinities and work as it is represented in the Spanish popular comedies of the 1970s. In such films, work represents an important site of tension, not only in the wider struggle in Spain between tradition and modernity, but also in the context of the nation's changing economic landscape in the late- Francoist period, which saw capitalist reforms, the development of the tourism industry, and the rise of consumer culture. In the context of late Francoism, particularly, with the advent of capitalist reforms, film directors and screenwriters of the 1970s utilized formulaic plots with work-related narrative conflicts as a convenient means to explore the consequences and effects of Spain's timid economic and social liberalization. Through my examination of eight popular comedies, produced between 1970 and 1977, I analyze how the filmmakers of the period engage with the issue of work, through the specific generic framework of the comedy, in order to interrogate larger structural changes in the national economy, as well as the personal consequences of such transformations at the level of the individual for the Spanish working man.In the first chapter, I study how Pedro Lazaga's ¡No firmes mas letras, cielo! (1972) and Estoy hecho un chaval (1977), as well as Mariano Ozores's Manolo la nuit (1973) utilize the espanolada, including the representation of working men who resort to the performance and commodification of an exaggerated espanolidad ("Spanishness") as a form of employment, in order to call attention to the fundamental ironies underlying Spain's tourism industry in the late- Francoist period. In the second chapter, I consider how Fernando Merino's Los dias de Cabirio (1971) and Prestame quince dias (1971) address forms of employment for men, such as palanquerismo and chulismo, that depend upon the participation of women as active consumers and/or workers in the economic and labor markets, thus, positioning women as an increasingly dominant economic force in Spain's economy. In the third chapter, I examine the representation of performative (homo)sexualities in Ramon (Tito) Fernandez's No desearas al vecino del quinto (1970) and Los novios de mi mujer (1972), which present homosexuality as a potential asset in the world of work, despite the Franco regime's condemnation of homosexuality. Finally, in the fourth chapter, I explore the figure of the overworked and underemployed Spanish working man in ¡No firmes mas letras, cielo! and Mariano Ozores's Dormir y ligar, todo es empezar, films that call attention to the work-leisure relationship. In doing so, such films elucidate the increasing influence of capitalist values, such as consumption and productivity, which directly contradict the Francoist authoritarian cultural project.

ISBN: 9798617071339Subjects--Topical Terms:

2122736
Film studies.
Subjects--Index Terms:

Alfredo Landa

Masculinities at Work: Men, Masculinities, and Employment in the Spanish Popular Comedies of the Late-Francoist and Transition Eras.
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300 $a 205 p.
500 $a Source: Dissertations Abstracts International, Volume: 82-01, Section: A.
500 $a Advisor: de Zubiaurre, Maria Teresa.
502 $a Thesis (Ph.D.)--University of California, Los Angeles, 2020.
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520 $a This dissertation examines the relationship between masculinities and work as it is represented in the Spanish popular comedies of the 1970s. In such films, work represents an important site of tension, not only in the wider struggle in Spain between tradition and modernity, but also in the context of the nation's changing economic landscape in the late- Francoist period, which saw capitalist reforms, the development of the tourism industry, and the rise of consumer culture. In the context of late Francoism, particularly, with the advent of capitalist reforms, film directors and screenwriters of the 1970s utilized formulaic plots with work-related narrative conflicts as a convenient means to explore the consequences and effects of Spain's timid economic and social liberalization. Through my examination of eight popular comedies, produced between 1970 and 1977, I analyze how the filmmakers of the period engage with the issue of work, through the specific generic framework of the comedy, in order to interrogate larger structural changes in the national economy, as well as the personal consequences of such transformations at the level of the individual for the Spanish working man.In the first chapter, I study how Pedro Lazaga's ¡No firmes mas letras, cielo! (1972) and Estoy hecho un chaval (1977), as well as Mariano Ozores's Manolo la nuit (1973) utilize the espanolada, including the representation of working men who resort to the performance and commodification of an exaggerated espanolidad ("Spanishness") as a form of employment, in order to call attention to the fundamental ironies underlying Spain's tourism industry in the late- Francoist period. In the second chapter, I consider how Fernando Merino's Los dias de Cabirio (1971) and Prestame quince dias (1971) address forms of employment for men, such as palanquerismo and chulismo, that depend upon the participation of women as active consumers and/or workers in the economic and labor markets, thus, positioning women as an increasingly dominant economic force in Spain's economy. In the third chapter, I examine the representation of performative (homo)sexualities in Ramon (Tito) Fernandez's No desearas al vecino del quinto (1970) and Los novios de mi mujer (1972), which present homosexuality as a potential asset in the world of work, despite the Franco regime's condemnation of homosexuality. Finally, in the fourth chapter, I explore the figure of the overworked and underemployed Spanish working man in ¡No firmes mas letras, cielo! and Mariano Ozores's Dormir y ligar, todo es empezar, films that call attention to the work-leisure relationship. In doing so, such films elucidate the increasing influence of capitalist values, such as consumption and productivity, which directly contradict the Francoist authoritarian cultural project.
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