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Men on the Screen

Re-visions of Masculinity in Spanish Cinema (1939-2019)


Edited By Juan Rey

Cinema, whether it is understood as entertainment, business, criticism, or art, is always a reflection of the society in which it is born. Men on the Screen is a review of masculinity in cinema made in Spain by Spanish directors from 1939 to the present. The objective of this volume is, then, to observe the different types of masculinities, whose classification gives rise to a chronology that goes from the man who embodies the dream dreamt by the dictator Franco to the modern man, who is lost in his labyrinth, while also examining the repressed men, those men who have strayed and who live in the city, the rascals and braggarts, those who fight every day just to survive, the petty criminals, those men who divest themselves of the rancid national-Catholicism in order to be themselves, those who are caring, those who harass and kill their prey, the heroes, those who seduce women with their gab, corrupt politicians, those who sell their bodies, grandparents, violent and chauvinistic men, those who live in anguish for the passage of time, and even those immured by repressing and hypocritical morality. All of the masculine categories delineated above indicate that cinema is a reflection of the great changes experienced by Spanish society during these years. During this long period, Spain has gone from being a poor, isolated, dark, sad, politically and religiously depressed country to becoming a dynamic, modern country, one of the great countries of the West. And these transformations, these men, who are diverse, who are in conflict at times, and who are depressed, hopeful, hungry, consumerist, and dreamers—they are what cinema gathers. What follows next is a catalog of men who have wandered and roamed the Spanish screens.

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24. The television Man: Beyond the Cinematographic Horizon


Javier Lozano Delmar1

Fiction on Spanish television has seen an outburst of creativity in the last few years. Yet, this is not exclusive to Spain. Television has undergone a process of renovation of all its fictional formats on a global scale. Television series now occupy a privileged place in viewers’ habits of audiovisual consumption with an offer that, in many cases, may exceed the demand itself. For Cascajosa, television fiction lives in a particular moment of growth throughout the world, propelled by the appreciation of the television series that are produced in the United States and aided by the new mechanisms that allow television fiction in a country to be consumed by audiences all around the world.1

One of the reasons for this new appreciation of televised fictional series should be sought in the appearance of new agents of production, distribution and content delivery. These agents have acted as an alternative to traditional television, promoting the creation of self-produced series. Thus, Video On Demand (VOD) platforms such as Netflix or Amazon mark and pave the way for the content industry of the next few years (does it make sense to continue talking about television or film content?), developing fiction of their own production, previously evaluated according to consumption data and segmented by audience niches. In addition, each of the original proposals of these platforms is released globally and instantly, regardless of the country of origin and language.

According to Cascajosa, the Spanish...

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