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" Masculinities at Work: "
Rivera, Renee Patricia
de Zubiaurre, Mar�a Teresa
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Latin Dissertation
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| Language of Document
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English
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| Record Number
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898462
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| Doc. No
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TL6cp4m291
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| Main Entry
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David, Elbra Lilli
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| Title & Author
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Masculinities at Work:\ Rivera, Renee Patriciade Zubiaurre, Mar�a Teresa
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| Date
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2020
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2020
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| Abstract
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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 m�s letras, cielo! (1972) and Estoy hecho un chaval (1977), as well as Mariano Ozores’s Manolo la nuit (1973) utilize the espa�olada, including the representation of working men who resort to the performance and commodification of an exaggerated espa�olidad (“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 d�as de Cabirio (1971) and Pr�stame quince d�as (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 Ram�n (Tito) Fern�ndez’s No desear�s 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 m�s 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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Rivera, Renee Patricia
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UCLA
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