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Caramella.Pdf Caramella, Silvia GENESIS, EVOLUTION AND REVOLUTION OF BULLFIGHTING IMAGES IN SPANISH FILMS: A CULTURAL HISTORY OF CINE TAURINO. Doctoral thesis, University of Sunderland. Downloaded from: http://sure.sunderland.ac.uk/id/eprint/8555/ Usage guidelines Please refer to the usage guidelines at http://sure.sunderland.ac.uk/policies.html or alternatively contact [email protected]. GENESIS, EVOLUTION AND REVOLUTION OF BULLFIGHTING IMAGES IN SPANISH FILMS: A CULTURAL HISTORY OF CINE TAURINO SILVIA CARAMELLA A thesis submitted in partial fulfilment of the requirements of the University of Sunderland for the degree of Doctor of Philosophy July 2017 1 TABLE OF CONTENTS Acknowledegements 4 Further acknowledgements 7 Abstract 9 Introduction 10 Chapter 1: Engaging with Spanish cine taurino 14 1.1 Cine taurino: building filmographies, settling methodologies 14 1.2 Tauromachy and identity 21 Chapter 2: The genesis of cine taurino: (inter)national sources, national 27 cinemas, national identities (1896-1931) 2.1 The ‘foreign’ birth of cine taurino 27 2.2 Cine taurino and narrative developments: Gaumont and Films H. B. 31 Cuesta, models of ‘foreign’ and of Spanish cinema 2.2.1 Two exemplary production companies 31 2.2.2 Gaumont, the metamorphosis and the anthropomorphic bull 33 2.2.3 Films H. B. Cuesta and the birth of Spanish cine taurino 39 2.3 Sources, subgenres and themes in the development of cine taurino 50 2.3.1 Fiesta Nacional, ‘national’ sources, ‘national’ archetypes 50 2.3.2 The novel as the main source of Spanish cine taurino 55 2.3.3 Zarzuelas and pasodobles. Music and lyrics for glorious bullfighters 62 2.3.4 The matador as a global star: biographies as ‘realist’ sources 66 2.4 Nation and society in silent cine taurino 76 2.5 Spanish cinema versus españolada 90 2.5.1 Critics, filmmakers, censors: battles won, wars lost 90 2.5.2 ‘Spanish cinema’ versus the españolada: Sangre y arena (1917) 95 and Blood and Sand (1922) Chapter 3: The Evolution of cine taurino: social mobility, class struggle 104 and consumerism (1931-1975) 3.1 Spanish cine taurino, Republic and Civil War 104 3.2 Francoism(s), cinema and mass media 114 3.3 The ‘glorious’ and ‘dark’ 1940s 120 3.3.1 Mystical bodies, order, and social mobility. The christological 130 2 sacrifice of ‘Manolete’ and the priestly chastity of Currito de la Cruz (1949) 3.4 Continuismo(s) and rupture(s): the second Golden Age of cine taurino 141 (1950-1965) 3.4.1 Contrasting models of the cinematic bullfighter 141 3.4.2 Realism(s) and rupture(s): ‘communists’ in the bullring, bullfighters 155 and aficionados in film industry 3.4.3 Caudillismo and social critique: ‘El Cordobés’ versus ‘Miguelín’ 165 3.5 Keys of Spanish cine taurino 174 CHAPTER 4: The Revolution of cine taurino: decline, post-modernity, and gender identity (1975-2016) 180 4.1 A period of profound transformations 180 4.2 Decline and continuity of Spanish cine taurino: a diachronic outlook 189 4.3 Bullfighting and nation in post-Franco cinema 194 4.4 The cinematic torera 199 4.4.1 From parodies to (timid) protests 199 4.4.2 A torera for each decade: from ‘Antoñita Linares’ to Penélope Cruz 206 4.4.3 Lydia and Carmen, the 21st Century toreras 218 4.5 The documentary and its cultural connections with fiction 227 Conclusions 236 Glossary 239 Bibliography 242 Filmography 269 Extended filmography 283 3 ACKNOWLEDGEMENTS The work for this thesis has included extended research in four countries on two different continents, and has involved several institutions and uncountable friends, but it would have been impossible without the inspiration I have received by my Director of Studies, Dr. Steve Cannon. His class on Post- Franco Spanish Cinema, which I attended during my MA at the University of Sunderland, was the initial spark for a challenging project that he has embraced with enthusiasm. His trust in my project and immense patience and knowledge have guided me through these years. His assistance throughout this long journey has been my strongest support. I could not have imagined having a better advisor and mentor for my PhD study. I am profoundly grateful to my Second Supervisor, Dr. Susan Smith, for her interest in my research, and especially for the precious advice to extend my readings to Animation and Animal Studies. If I have opened windows to the ‘other side’ of the cinematic representation of bullfighting it is thanks to her and her ability to teach me how to look from other perspectives at the hegemonic symbolisation (and reification) of animals in films. The completion of the doctoral research has been possible thanks to the generous support of the Centre for Research in Media and Cultural Studies (CRMCS) of the University of Sunderland. The scholarship I was awarded for the last two years allowed me to complete the investigation in the film archives, and granted me the opportunity to be part of an outstanding community of scholars. I have been welcomed by all members of the academic staff, of whom I became undeservedly a colleague and friend. I am grateful to Prof. Julia Knight, Director of the CRMCS, for the support I have received not only for my PhD research, but also for its several ‘spin-offs’ that involve the University. I would also like to thank my fellow doctoral students and Marie Curie Research Fellow Giovanna Maina for their feedback, cooperation and friendship. Alessandra Mondin, I will be always grateful for your invaluable collaboration in the textual analysis of Jamón, jamón! The University of Sunderland is my second alma mater: I started my postgraduate studies after a long period of professional work in film industry, and I am indebted to Prof. 4 Clarissa Smith for opening the door to my research. My first steps in research have been guided by her, and it was through her that I have learned how to become ‘critical’ in my studies. To Dr. Barbara Sadler I owe a more ‘feminist eye’ to my approach. Elizabeth Knox, Lyanne Hopper and all the administrative staff have been my guardian angels; all the brilliant librarians of St. Peter’s have offered me their guide and assistance. Thank you for your priceless help. I am in debt to all the film archives and libraries in which I have spent most of my studies: they have allowed my long hours of visionado, and they have also added to my filmography authentic filmic ‘gems’. Though I am going to mention only my special mentors, my acknowledgement is extended to all members of staff: Trinidad del Río (Filmoteca Española, Madrid); Raquel Zapater (Filmoteca Valenciana, Valencia); Rosa Saz Alpuente (Filmoteca Catalana, Barcelona); Ramón Benítez (Filmoteca de Andalucía, Córdoba); José Miguel González Soriano (Biblioteca de Las Ventas, Madrid); Sara Moreira (Cinemateca Portuguesa, Lisboa); Soledad Hinojosa Jiménez and María Vázquez Estévez (Instituto Cervantes, Lisboa); Raúl Miranda (Cineteca Mexicana, Ciudad de México); Ángel Martínez Juárez (Filmoteca UNAM, Ciudad de México); María del Carmen Vázquez Mantecón (Instituto de Investigaciones Históricas – UNAM, Ciudad de México). Many thanks to Javier Beca Belmonte, Guille Domínguez Gil and Yolanda Arango Belmonte, for their invaluable help and generousity during the analysis of the private film archive of matador Juan Belmonte. The filmography has been updated to November 2016 thanks to film director Camilo Ayala (Bogotá), who offered me a preview of his Salú, and to Golden Girls FilmProduktion (Vienna), which provided me a private screening of Korida two days before the official release of the documentary. Very special thanks to my editors and friends Victoria O’Kean Alonso and María Pérez de Lama Halcón, and the Fundación de Estudios Taurinos (Sevilla): they gave me the opportunity to publish with the prestigious Fundación, and have made possible my entrance to a worldwide network of researchers on Tauromachy Studies. I am grateful to Dr. Juan Carlos Gil González (Universidad de Sevilla) for having invited me to join this outstanding group of scholars. I am beholden with José Morente and the digital community of Reflexiones sobre el toreo, as well as with Maestro José Francisco Coello 5 Ugalde (Ciudad de México) and with my ‘taurine Maestro’ Dr. Lázaro Echegaray for their generousity. To Juan Antonio Nieto Fernández I owe my fascination with the cultural world of tauromachy: you never get over that first corrida. In these years I have shared my insights and thoughts with fellow researchers of the Association of Hispanists from Great Britain and Ireland (AHGBI), Women in Spanish, Portuguese and Latin American Studies (WISPS) and Associação de Investigadores da Imagem em Movimento (AIM), as well as being invited to present and teach on my work at the Cátedra ‘Ignacio Sánchez Mejías’ – Universidad de Sevilla; CHAM – Universidade Nova de Lisboa; the Lycée Français ‘Charles Lepierre’ (Lisboa); Instituto Cervantes (Lisboa) and Universidad ‘Jorge Tadeo Lozano’ (Bogotá). Their interest in my studies has been deeply encouraging. Several friends and colleagues, alongside the companies in which I have worked to help fund the research, have been deeply supportive and helpful: Ludivine Glemet and José Olid (Madrid); my cousins Raquel Marcilla and María Amparo Liébana (Valencia); Hélène Zwingelstein (Paris); my Italian, Australian and Sevillian family; my Sevillian friends of ZZJ Producciones; Silvia Vita and the friends from Siemens Portugal S.A (Lisboa); Sr. Angela Grant and the staff of Pauline Books and Media (Newcastle upon Tyne); my ‘splendid’ Catholic and Anglican chaplains (Ms. Mia Fox, Fr. Dominic White, Rev. Chris Howson); Loredana Origlio, who gave me a shelter for two years in ‘sunny Dunston’; the whole Catholic community of the Diocese of Hexham and Newcastle, with a special mention to Lillian Molloy, my Lilly. To all of them, ¡muchas gracias! In these years of multilingual research, conferences and publications, I have had a marvellous cuadrilla of proofreaders and translators of notes, papers, and manuscripts.
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