Although espanolada film is usually associated with motion pictures from the 1930s and 1940s, in an article on "La espanolada en el cine" Luis Navarrete points out that the themes of espanolada engage stereotypes of Spanishness
that might come from any time (24-26).
In order to balance the many studies arguing that Golden Age drama exemplified an inherent Spanishness
, he places it in a broader context of medieval and early modern European theater.
In recent years Lopez has received some of his most favorable reviews for films in which he plays the villain--he has played characters of dubious moral fiber in at least six films produced in France and Spain--but what makes his appearance in Harry and Dirty Pretty Things remarkable is that both Moll and Frears draw deliberate attention to his characters' Spanishness
at key moments in their films.
33) For example, Spanishness
was connected to the Spaniards at the top of the pyramid, but members of other groups could claim to be associated with Spaniards or to have Spanish qualities in order to prove their legitimacy in the sanctioned domain.
The Costa Brava's natural radiance, its gorgeously foreign features, its beguiling Spanishness
, have been overtaken by neon, tack, tat and artifice.
The bullfighter costume pieces, the dead matador, and the still life of the basket of Spanish props that became the emblem of his studio notwithstanding, Manet was less interested in the accoutrements of Spanishness
than in more fundamental notions of how to construct a picture.
Images of femininity and masculinity in press, film and television illustrated the clash between traditional Spanishness
and modernity, that is to say, the new, more liberal models of behavior that were rapidly seeping in through the increasing contact with foreign ideas and mores through tourism and emigration.
More curious is the reading of Iago in terms of the vectors of Spanishness
and, therefore, Jewishness and Moorishness.
While the sanctioned domain privileges masculinity and Spanishness
, the unsanctioned domain attributes particular power to women and Indians, the weakest groups in the first domain; thus this second sphere inverts the power relations of the sanctioned domain, permitting women and Indians to function within the world of witchcraft in the way Spanish men function within the official world of the caste hierarchy.
2) Other Spanish filmmakers have either refigured or reinscribed past notions of Spanishness
to reflect the changes in Spanish society, or jettisoned them altogether for the pursuit of a European or transcontinental identity.