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Palabras clave hombres. los contra usa yla reduce, que la se ala sexual dimensión la de máximo al que aprovecha se activo agente un resulta Carmen contrario, el Por deseos. sus de víctima en convirtiéndose convenciones patriarcales, las en cree María Carmen. de salvajismo yel populares hadas de cuentos de heroínas muchas de pasividad la Carmen corta novela la inspiraciones, mayores sus de yuna película la entre comparativo estudio un realizar es artículo propósito El este de Hollywood. en estudio de convencional película otra cualquier en como conservadoras son tan protagonista la de la como sexualidad la de representación la tanto aunque diva, una de nacimiento el desmitifica pues transgresora, película una es Vargas, hollywoodiense». hadas de its defining inspirations, the novella Carmen the novella inspirations, defining its and onefilm of the between study completecomparative to a aims paper This film. studio Hollywood mainstream other any in those as conservative as are protagonist female the and sexuality of representation the both though diva, rise ofa the demystifies it since film, Contessa Barefoot The Abstract Carmen ción, hadas, de cuentos « Resumen Carmen Keywords men. it against uses to, Carmen reduced she is dimension sexual of the advantage full taking contrary, On the desires. of her own victim the why she becomes is that Charming; for Prince longing conventions while patriarchal in believes María all, After savageness. Carmen’sand heroines fairy-tale popular many of thepassivity between figure termediate La condesa descalza condesa La en Cenicienta la de frustración La TRACES OF CARMEN TRACES . : feminist film criticism, show business drama, deconstruction, fairy tales, tales, fairy deconstruction, drama, show business criticism, film : feminist Revista Clepsydra Revista : crítica de cine feminista, drama del mundo del espectáculo, deconstruc espectáculo, mundo del del drama feminista, cine de : crítica GIRL ASH OF THE FRUSTRATION THE . Se puede considerar a María Vargas como una figura intermedia entre entre intermedia figura una como Vargas aMaría considerar puede . Se , which tells of the personal evolution of María Vargas, is a transgressive a transgressive is Vargas, evolution of María personal of the tells , which IN IN La condesa descalza condesa La THE BAREFOOT CONTESSA BAREFOOT THE Carmen Rodríguez Ramírez Rodríguez Carmen . , 14; noviembre 2015,, 14; noviembre pp. 37-51; 1579-7902 ISSN: Universidad de Sevilla de Universidad IN AHOLLYWOOD TALE FAIRY IN . María Vargas can be understood as an in an as understood be can Vargas . María , que ,

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REVISTA CLEPSYDRA, 14; 2015, PP. 37-51 37 REVISTA CLEPSYDRA, 14; 2015, PP. 37-51 38 dimension she is reduced to and uses it against men it against dimension uses she to reduced is and Charming are present in Mankiewicz’s screenplay. most present the Mankiewicz’s are in this, with connection In Charming or shoes girl, Prince ash the Indeed, ones «Cinderella». developed the in particular, Gender CriticismStudies. and Film on Feminist based be will approach theoretical my film, implicit ideology this in to phallocentric uncover the in in starring after symbol sex to reduced was career her in musicals, dancer natural A place. first the in Carmen as quoted pp. 120, 121, 2003, 124 (henceforth Cátedra, Madrid, Esteve, López L.E. and Jiménez López L. P. yferoz». voluptuosa Mérimée expresión una tenían ojos «los fumaba»; bién ella The Barefoot Contessa Barefoot of The protagonist —the regarding gender sexualit and regarding all. at subversive not is film this sexuality of gender female terms in and Idefend paper that so, this in evenBut Charming. murdered by Prince finally is and poverty in happier living who felt overnight star of an story the version tells chanted becauseit of Cinderella Contessa Barefoot The Furthermore, organization. Contessa Barefoot The directed wrote and who also of All about director Eve screenwriter and award-winning Incidentally, the dramas. show Eve (1950)about business as categorized usually are (1950) Boulevard Sunset as such tone Classics or All executives. on and celebrities adopts critical a worldindustry. behind-the-scenes usually of the It film is, that economicthethe industry. ambition side other the screen,silver ofof portrays film It to condemn its it subversion, is subgenre aims that sense of the this in feature main lover. her and María both he to kills him, she unfaithful is that buthusband, count when learns the her with drive her sexual out to impotent. be he satisfy turns Shethough cannot count, Italian loveobject in an men. of of Unexpectedly, with desire many she falls into the amovie involves She star, which becoming suddenly turns dirt. the in co flamen dances Vargas, who naturally María called woman gipsy of aSpanish tells society where women are destined to passive be where women destined society are a in agent Consequently,active triumphant. is an end, woman becomes Carmen Contessa Barefoot The than morebe advanced 1847 in novella written out this by to Prosper turns Mérimée solid parallelisms, the Carmen novella discourse: film dimension to the anew adds that Gilda (1946). B.F. Dick The plot of the film introduces and subverts certain fairy-tale motives. In motives. fairy-tale certain and subverts The plotintroduces film the of 3 2 1 subgenre produced by this expectations the analyze and orderIn to identify factory, dream butis themanipulative a not Hollywood films, these In drama asa showbusiness analyzed traditionally been has film This (1954),Contessa Barefoot The film The Mankiewicz, by Joseph L. directed

In fact, the protagonist is said to be based on Rita Hayworth, who was offered the part part the offered was who Hayworth, on Rita based be to said is protagonist the fact, In Ibidem - «tam mí»; de cerca a sentarse «vino he has: nerves the with deal passages obvious Some ). , p. 154: «ya no te quiero. Toma, vete, ahí tienes un duro por el trabajo». trabajo». el por duro un tienes , p. 154: Toma, quiero. no te ahí vete, «ya , Joseph Mankiewicz L. y, y, The Barefoot Contessa Barefoot referent The in a literary is there . Ann Arbor: MI, Twayne Publishers, 1983, Twayne MI, p. 107. Publishers, Arbor: Ann — will only feel guilty about it guilty only feel — will despite its misogyny because, in the the in because, despite its misogyny 1 . She takes advantage of the sexual of sexual the advantage . She takes has always functioned as adisen as functioned always has . 2 . On the contrary, María Vargas contrary,. On the María was Joseph L. Mankiewicz, Mankiewicz, Joseph L. was . Considering Considering . , Carmen 3 . In order. In , trans. , trans. . The The - -

Fontana, 1982. Fontana, definition be absent. In this folk tale, which is also a fairy-tale, the female character character the female fairy-tale, a also is which tale, folk this absent.be In definition by always will agency ofconquest female sense to «a Rob alone». Baum, According uncertain and difficult the of attempting instead from a‘Prince Charming’ piness hap and fortune to expect girl the encourages still «Everything myth: Cinderella to form her forto identity. wait aman Even Simone to the alluded de Beauvoir needs a that woman implies attitude for better. This the lives their change will that factor favor projects external in and of an ideas of their advantage full from using of «women-centered tales» of «women-centered heroines these in prototype of absence a female the reveals Finally, Haase Donald validity. their of women’s look into they progress; other options, certifying social to read» to begin it in before even they conceive world places the their children and which in manner «the in Applebee tales to prove role the to refers of Arthur Zipes fairy Jack tales. conventions fairy otherstories. In words, we receive social through how of and these about we relate to by others ourselves means we learn childhood heroine strong the «to audience see context» the in urges Bottigheimer arrogance. her for stepmother her whereas punished is man, perfect the with rewarded is servant devoted the Dwarfs» Seven the and «Snow in White condemned. For instance, mostly power independence to related passivity, and are whereas times many are them, the perennially refreshed entertainment of poor» the entertainment refreshed perennially them, the person who tells by every again and again remade be can that originators known on audience’s the depending without «stories taste: transformed be could that ings unconventional heroines happy end with active uncovers tales of fairy collection Carter’s roles opposition for In audience. Angela trend, female the missive to this questioned by Ruth B. Bottigheimer due records) to written questioned B. Bottigheimer by Ruth is origin oral (whose tradition so-called popular from the those tales, fairy popular P, p. 2. 2009, England G.E. New Approaches New coined by Colette Dowling bycoined Colette the Cinderella complex called aterm is there conception genderthe of that female 1949,Contessa Barefoot before The five years is, that pp. 101-108, p. 106. p. 101-108, pp. Sadler . New York: Routledge, 2012, p. xii York:. New Routledge, 7 The influence of fairy tales in our lives is tremendously significant: in our in tremendously is lives significant: our in tales fairy influenceThe of 9 8 7 6 5 4 The literary myth of Cinderella, whose Disney version was released in whose released versionDisney was of Cinderella, myth literary The . As a matter of fact, the collections of feminist tales are a direct product adirect are tales of feminist collections the of fact, amatter . As D. D. C. C. J. R.B. A. R.B. Teaching Children’s Literature: Issues, Pedagogy, Resources Pedagogy, Issues, Literature: Teaching Children’s (ed.), Zipes Haase Carter . Dowling . Detroit: Wayne State UP, 2004, pp. 1-36, UP, Wayne p. State 8. . Detroit: 2004, Botigheimer Bottigheimer . Don’t Bet on the Prince. Contemporary Feminist Fairy Tales in North America and and America Tales North in Fairy Feminist Contemporary Prince. the on Don’t Bet . «Feminist Fairy-Tale Scholarship», in D. in Haase Fairy-Tale Scholarship», . «Feminist Angela Carter’s Book of Fairy Tales Fairy of Book Carter’s Angela (ed.). The Cinderella Complex: Women’s Hidden Fear of Independence Fear Women’s Hidden Complex: Cinderella The . 8 . 9 Fairy Tales. History ANew Fairy . «Fairy tales and children’s literature: A feminist perspective», in in perspective», Afeminist literature: children’s and tales . «Fairy . This term deals with thestops repressionthat with women deals term . This . . Albany: State University of New York of New University State . Albany: . London: Virago, 2005, p. ix. 2005, Virago, . London: came out, is so immersed in in out, immersed so is came Fairy Tales and Feminism: Tales Feminism: and Fairy (ed.), 5 . Still, honorable virtues honorable. Still, virtues 4 , tend to present sub . New York: MLA, 1992, York:. New MLA, . London: London: . 6 - - - . ,

REVISTA CLEPSYDRA, 14; 2015, PP. 37-51 39 REVISTA CLEPSYDRA, 14; 2015, PP. 37-51 40 ones as they imply freedom they ones as connotations negative related toher the into body positive transforms Carmen societies. patriarchal in prevalent rules the her definition genderof own by defying noir film found be in can samples most popular comerla», Carmen comerla», a puso y se peló la naranja, una escogió piernas, las cruzando habitación, la de rincón un en sentó se después desprecio; profundo de mirada una le lanzó entonces gitana La secamente. pronunciadas (2000), pp. 69-83, p. 69. p. 69-83, pp. (2000), Don José behaves like apuppet her in Don hands like José behaves For instance, exuberant. and impolite, sexual, unfaithful, disobedient, unreliable, of avillain: those are whose features protagonist of female the example best the other words, In women’s marked. acceptance. initially are universal bodies achieve order in to bodies to their assigned role the traditionally women to need transcend which in power structures social exposes cinema mainstream tales, ty. fairy Like Therefore,independent invisibility,representsan Cinderella theabsence of identi is positionedis of it what terms not: not in is not not male» dominant, powerful, by his own dogs own by his to into hunter devoured sentenced be the adeer and him Actaeon transformed Diana comments that novella narrator when the whose explicitreference the in is of Diana, spirit vengeful to the Don José), alsolinked be of god can war. Finally, the Carmen represent (as amodern Venus, Mars confronts to and of married love is agoddess that to say, Needless she could of mankind. destiny the who rule Furies, to the linked be also world. can the throughout Carmen evil spreads and seduced— been —who has she Originally, box opens the offered by Epithemeus virtues. no moral with a beauty associations in which men women would which represent and flesh in mind the the associations Ava Gardner assumed this scandalous identity during her stay in Spain her in stay identity during scandalous this Ava assumed Gardner into that account taking actress, for an such part perfect the was Carmen Indeed, (1951) Flying Dutchman the and by Pandora Ava in Gardner TheKillers and En Sevilla, todos echaban algún piropo atrevido a su figura». figura». asu atrevido piropo algún echaban todos Sevilla, En Feminismos literarios Martin’s Griffin, 2007, Griffin, pp.206, Martin’s 195, 210, 202, 231,287, 291,345,387.342, 295, Server L. reported. widely were Sinatra Frank Carmen , pp. 9-84, pp. 25-26. , pp. 9-84, In opposition to Cinderella and many other heroines, Carmen constitutes constitutes oppositionIn other heroines, many Carmen and to Cinderella This myth has classical roots because it can be interpreted as a new as a interpretednew be Pandora, can it because roots classical has myth This 15 14 13 12 11 10 Actually, Carmen could be considered precedentbe the could for Carmen Actually,

L. L. R. R. J. J.

Her romances with bullfighters and her enjoyment of night life while still married to married still while life night of enjoyment and her bullfighters with Her romances «Don José no respondió a ese gran torrente de elocuencia más que con dos o tres palabras palabras otres dos que con más elocuencia de torrente gran aese no respondió José «Don Ibidem Butler López Jiménez Baum , p. 126. p. , , p. 134: «Una mujer con ese traje en mi país habría hecho persignarse a la gente. gente. ala persignarse hecho habría país mi en traje , p. «Una 134: ese mujer con 14 , Madrid, Arco/Libros, 1999, pp. 25-76, Arco/Libros, p. 46. , Madrid, . Both Pandora afemme fatale. Both and . «After the ball is over: Bringing ‘Cinderella’ home», ‘Cinderella’ Bringing over: is ball the . «After , «Sujetos de Sexo/Género/Deseo», in N.Carbonell in Sexo/Género/Deseo», de , «Sujetos and L.E. López Esteve L.E. and 12 . After all, these connotations are the effect of cultural cultural of effect the connotations are these all, . After , Ava Gardner: « 11 . . «Introduction», en P. en . «Introduction», Mérimée, . Incidentally, she has constructed . Incidentally, constructed she has like Kitty Collins were played Collins Kitty like Love is Nothing is Love femme fatales Cultural Analysis oras Torr &M. ». York: New St. 15 . 13 (1946). (1946). , whose . op. cit. , vol. 1 , vol. (eds.), (eds.), 10 - . , presented images the behind ideology the on Johnston uncovering insisted Claire like critics women. Subsequently, not verisimilar stereotypes, coded strictly roles as Hollywood system. star the inside masquerade daring of not a that all, after narrative Hollywood heroine by classical imposed odramatic as Yvonneas Tasker such film critics feminist offered by contemporary analyses the fitin contradictions These follow her rules. she own can and no responsibilities whatsoever has girl, María ash the As dirt. the in out barefoot to happier be turns dancing María dream-man, finds her finally and However,for Charming. Prince once successful she becomes waiting keeps presents, but and paradoxically to buy contracts her with who try instance, she breaks up with Don José by clarifying that he was just a sexual relief a sexual just he was that Don up José with by clarifying she breaks instance, for her. Charming Prince conventions once acount she meets patriarchal to please willing is condition.the end,she In rebellious this due to suffers María time but same at the Carmen, like fromjust society and detached different former feel the does because Carmen from María differentiates that factor key is a enable her This to retire. will María. Vargas!» (J.L. Mankiewicz (J.L. Vargas!» María. real life but ideological signifiers» but life ideological real «not are simply of that mirrors produces images cinema mainstream Once again, complete.her make to an authentic forlongs man María of film, the case the In p. 151. p. paylló un eres Twenty-First Century», in H. H. in Twenty-First Century», Contemporary Popular Cinema Popular Contemporary comedy», in H. Radner H. in comedy», sonality and will not control let anybody her will and sonality unprotected» and exposed «of being she afraid is because longs for a man contrary, María the repertoire of paradoxes. of gender, and inconsistencies full and films starring Doris Day, Donna Reed or Lucille Ball. However, this portrait Day, However,Doris portrait Ball. this Lucille Reed or Donna starring films and sitcoms commercials, in TV and from cinema came messages ofspheres. these Many about most appropriate the public private the and in behavior messages received In the 1970s Marjorie Rosen and Molly Haskell depicted female classic classic 1970s depicted the In female Molly Haskell and Rosen Marjorie The defiant attitude of Carmen is recurrent throughout throughout the For novella. recurrent is Carmen attitude of The defiant María Vargas could play the part of a tamed Carmen. She has a strong per astrong She has Carmen. of atamed play part Vargas could the María 22 21 20 19 18 17 16 She has a profound effect on men, but does not take advantage of aprofound Sheit. On on advantage men, has effect but take not does H. H. J.L. J.L. Y. Y.

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22 As the owner of the nightclub in which she dances says: «No rules for Señorita Vargas. Vargas. Señorita for rules «No says: dances she which in nightclub of the owner the As «—Joseíto, escucha— dijo: —¿te he pagado? No te debía nada, según nuestra ley, porque nuestra según nada, debía No te he pagado? —¿te dijo: escucha— «—Joseíto, Ibidem . , pero eres un chico guapo y me has gustado. Estamos en paz. Buenos días», días», Buenos paz. en Estamos gustado. y mehas guapo chico un eres , pero The Barefoot Contessa Barefoot The Tasker, « Tasker, Radner 19 Humm Mankiewicz . Somehow, María wants to please society by finding a partner that that partner a by finding . Somehow, society to please wants María , pp. 12-13. pp. , 17 or Hilary Radner and Rebecca Stringer Rebecca and Radner or Hilary Feminism and Film and . Feminism and R. Stringer R. and and R. Stringer R. and Enchanted Radner . New York: Routledge, 2011, York:. New Routledge, pp. 67-79, p. 72. The Barefoot Contessa Barefoot The (dir.). (2007) by postfeminism: Gender, irony, and the new romantic romantic new Gender, irony, the and bypostfeminism: (2007) The Barefoot Contessa Barefoot . The and R. Stringer R. and was released in the 1950s, the in women which in released adecade was 21 . «Introduction. ‘Re-Vision’?: Feminist Film Criticism in the the in Criticism Film ‘Re-Vision’?: Feminist . «Introduction. . As we can see, María follows the role follows the of amel María see, we can . As (eds.). Feminism at the Movies. Understanding (eds.). Gender in . Edinburgh: Edinburgh UP, 1997, Edinburgh p. 13. . Edinburgh: 16 (eds.), (eds.), . Also, she despises the wealthy men wealthy the she despises . Also, , Metro-Goldwyn-Mayer, 1954, n.p.). , Metro-Goldwyn-Mayer, , Metro-Goldwyn-Mayer, 1954, n.p. , Metro-Goldwyn-Mayer, Feminism at the Movies the at Feminism 18 , who provide aplural , that is to say is that , pp. 1-10, p. 2. Carmen 20 - - , . ,

REVISTA CLEPSYDRA, 14; 2015, PP. 37-51 41 REVISTA CLEPSYDRA, 14; 2015, PP. 37-51 42 New York: Routledge, 2011, York:New Routledge, p. 5. as any other factor in the analysis of awoman’s analysis the in identity other factor any as dominate her and he —as the representative of authority— cannot accept that accept representative cannot the of authority— her hedominate —as and not she does by let Don him José stabbed is because endthe of novella Carmen the to Postmodernism a prostitute, and she is time and again associated with the devil the with associated again and a prostitute, she time is and status quo» status interest of the a hegemonic in are of which not all of functions, a variety serving right, their own in complexdocuments and social important «as rolethe of films Cinema Popular in Contemporary In Feminism specified. be must at the Movies. Understandingcircumstances Gender Movement.Rights the Civil or culture consumer therise of in part significant contrary, On some the of played them a housewife. suburban careless from the disconnected experiences, correspond to real not house did the fully in of angel the pp. 122, 142, 151, pp. 122, Carmen, 157. due to the effects of capitalist culture capitalist of due effects to the the definition of femininity volatile of amplification given way to the has feminism, Evyln Gould Evyln as such critics by literary bohemian as described is which attitude an rebellions, Barefoot Contessa Barefoot dichotomy to would to this only lead tragedy. her challenge that indicate of the [...]Self produced be opposition only in of not-self, can to that ‘category the that so Self to opposed mone de Beauvoir’s concept of Other the atmosphere by the of conformity.to positionalludes Si This again— and —once onimposed women Her to have time. desire avoice at the of suppressed her is own nature. The producer and his assistant are certainly caricatured as in show most as caricatured certainly are assistant his and The producer nature. but to her pressures, own never Vargas due is to patriarchal of María tragedy the approved. other not words, In is dimension, socially which sexual to the relegated María’s Don José because more problems even is than innocent to be seem cenzo problems. Vin Count no short, In psychological with agentleman remains always Other Nowadays, Feminist Film Criticism focuses on individual stories whose on individual Criticism focuses Film Feminist Nowadays, The challenge to social conventions is a in Carmen social to leitmotivboth challenge The 29 28 27 26 25 24 23 María could represent the suffering caused by the repressive expectations the expectations repressiveby caused represent could suffering the María In the case of the film, the screenplay is definitely ambiguous as the countthe as ambiguous thescreenplay is definitely of film, the case the In H. H. S. S.

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Ibidem Ibidem «una fámula del diablo»; «demonio de chica»; «encontraste al diablo, sí, al diablo», diablo», al sí, diablo, al «encontraste chica»; de «demonio diablo»; del fámula «una 23 is as primordial as consciousness itself’» consciousness as primordial as is Thornham Gould . The utopian objective of a woman’s inherentvoice, secondwavein 27 Radner Radner . New York: Routledge, 2005, pp. 24-34, p. 25. pp. 24-34, 2005, York:. New Routledge, . In fact, none of them has a stable homeland. Carmen is a thief and and a thief is none a stable homeland. Carmen fact, . In of has them , the category linked to man’s «The linked identity: harmonious concept category , the of , p. 159: «Yo era tan débil ante esa criatura, que obedecía todos sus caprichos». sus todos que obedecía , p. 159: criatura, esa «Yo ante débil tan era , p. 5. , and in both cases Carmen and María are punished for their for their punished are María and Carmen cases both in , and The Fate of Carmen of Fate . The and R. Stringer R. and . New-Feminist Cinema: Girly Films, Chick Flicks, and Consumer Culture . «Postmodernism and Feminism», in S. S. in Feminism», and . «Postmodernism , Hilary Radner and Rebecca Stringer emphasize emphasize Stringer Rebecca and Radner , Hilary , op. cit. , Baltimore: The Johns Hopkins UP, Hopkins p. The Johns 1996, 1. , Baltimore: 24 . Indeed, material success matters as much as matters success material . Indeed, , that is, the category linked to women as linked category the is, , that , «Introduction. ‘Re-Vision’?», p. 3. , «Introduction. 26 . In this case, the subtext could could subtext the case, this . In Sim 25 . (ed.), (ed.), The Routledge CompanionRoutledgeThe 28 . As a result, at aresult, . As and and The The 29 . - - . where she lives she where society her of concept Carmen, of love case notthe is patriarchal by the understood but fight, not barrier. overcome will this María not negotiated. gender classified, is which in relationship a hierarchical is there short, a woman» a her: tells Alberto Bravano «You she arebel. Thesetter is jet aretion, not because just civiliza but she not to perhaps is patriarchal of worthy it according Mary— Virgin Worldthe areflection of Christian the as to in aspire must woman rolethe every and surrounded by other mausolea with statues of couples. This scenography could could scenography of couples. This statues by with other mausolea surrounded and alone, standing asplendid of María statue shot highlighting angle employs ahigh man/woman. the only rolesin the binarism offered she destabilizes because as a simplywoman, rejected society by finally controlled is and thatMaría displays product not of Truth discourse» but through of power expressed the is of «Gender, knowledge, other categories itself: like transforming continually afantasy just is Consequently, but on binarism, performance. heterosexuality ual do not actions our depend on heterosex that the states Fuss Diana fact, In back. Forsilenced. Butler, traced be cannot gender acopy whose origin impersonates privileged, whereas the second one tends to be defined in terms of the firstthe one secondof in oneterms the to tends defined whereas be privileged, be tends to term first end. The the in to reduced be masculine/feminine can that oppositions binary in organized culturally is to HèléneCixous, reality According by established civilization. codes the Western she since defied transgression own of her victim the was María that suggests approach of film so, ideological the the Alberto Bravano. appliesEven to same The playboy ofincapable harm. doing any are they that suggests film the of she outdiscourse is for The ofthat them. reach independence imply social and María’s Nevertheless, dignity dramas. business p. 172. p. Carmen, lo que meplace», only presents reproductive objectives reproductive presents only it that restrictive so is dichotomy man/woman sexual the Actually, undecidedness. of women essence exclusion, the is other words, in that when she claims Irigaray reference to Luce Butler makes this, with connection In construction. a cultural considered be of freedom choice. gender Furthermore, can delimits sex which in definition as a interpretedfictitious theis idea of woman to astablesignified, tached at stable of a signifier pretensions.instead of Thus, gender its political by showing 1999, pp. 199-232, p. 217. N.Carbonell in encia-entre», She is punished for defying authority because she despises society. As in in society. she despises As because authority forShe defying punished is Like Carmen, the contessa is a bohemian rebel. The scene at the cemetery cemetery the rebel. The scene at abohemian is contessa the Carmen, Like 34 33 32 31 30 In «Subjects of Sex/Gender/Desire», Judith Butler denaturalizes the concept the of «Subjects In Sex/Gender/Desire», Judith Butler denaturalizes

J. J. J. J. T. T. S. S. 32 «No quiero ser atormentada ni, sobre todo, mandada. Lo que quiero es ser libre y hacer yhacer libre ser es que quiero Lo mandada. todo, sobre ni, atormentada ser quiero «No . In other words, she does not fit in the patriarchal standards society.of standards other words,. In not shethe does patriarchal fitin Butler Mankiewicz Thornham Ebert 31 . María was about to become a mother —an allusion to her name, to her allusion name, about to become amother was —an . María . «Feminismo y postmodernismo de la resistencia. Diferencia-dentro/Difer resistencia. la de ypostmodernismo . «Feminismo , op. cit. . «Postmodernism and Feminism», in S. Sim S. in Feminism», and . «Postmodernism Metro-Goldwyn-Mayer, 1954, n.p. Metro-Goldwyn-Mayer, Contessa, Barefoot The (dir.). oras Torr M. and 33 . Any other possibility is deleted or, is other possibility . Any at least, (eds.). Feminismos literarios (eds.). p. 28. p. cit., op. (ed.), , Madrid: Arco/Libros, Arco/Libros, , Madrid: 34 . This theory theory . This 30 . In . In - - - -

REVISTA CLEPSYDRA, 14; 2015, PP. 37-51 43 REVISTA CLEPSYDRA, 14; 2015, PP. 37-51 44 UP, 1984, p. 29. this male identification is discontinuous across genders discontinuousacross is identification male this For J. Clover, Carol of discourse. accumulation an as consider images and displayed 2007, pp. 125-26. pp. 2007, raza pura», Carmen, pura», raza p. 181. p. Carmen, demonio», un mujer era esa pero clemencia, ymepidiera miedo tuviera as in the case of Carmen case the in as possible. is not Therefore,María, does to provide death peace gaze male only the power since relationship is a destabilized on big This the screen. characters female beholding objectification same very the would experience spectator female the that would it women imply relegates that to of Paradoxically, objects this desire. ential influ so identity is of feminine the For construction Mulvey, subjective male this man. of a theheterosexual perspective and the spectator between identification the to define as so Cinema» Narrative «Visual and in Mulvey Pleasure bycoined Laura was term This splendid the gaze. object as of male a way to look the at her eternally away tobe María’s underline but beyond death, independent it also is personality of of aesthetics the in found be can elements these of all of origin The exuberance. and passion, tragedy, flamenco, accent, Spanish (Rome), inauthentic Cinecittà in recreated areas rural films: lywood deactivate the male gaze male the deactivate and they receive messages womenthesexist that filter may claims B. Ruby Rich lives. daily to their back go can away, characters the passes all either fiction in or reality. she system Once social not established bother the will shot, María full its own with asculpture at erotic As objects. from looking pleasure and and the shawl, or the flower in thehair shawl, or flower the the in combination, black and red shot: big lips, red shot eyes, medium followed by afull with coincidesdescription Gardner’s Ava This lips. in a in presentationSpain tasty Contessa Barefoot of The not smokecase the she in will or cigarettes not the wear will María that of Carmen case the in shotgun and knife, cigars, the details: on fetishistic based objects sexual as characterized essentially are protagonists male conflicts. of inner her victim is a María personality, whereas a defined has Nonetheless, Carmen for die system. notby absorbed and the being patriarchy defy who points dare of women view alternative bycoined Gloria with Anzaldúa), «Before the Latin tinge: Spanish music and the ‘Spanish idiom’ in the United States, 1778-1940», States, United the idiom’ in ‘Spanish the and music Spanish tinge: Latin the «Before Carmen The Barefoot Contessa Barefoot The Subsequently, several critics have disagreed with Mulvey. with ForSubsequently, instance, have disagreed critics several 35 39 38 37 36 María does not fit in society, while Carmen is not notgipsy does a Carmen fitsociety,pure in María while Both texts are inside masculine universes full of phallic symbols. Both fe Both symbols. of phallic full universes masculine inside are texts Both , both the novella by Prosper Mérimée and the opera by Georges Bizet. See L.K. Stein L.K. See Bizet. byGeorges opera the and Mérimée byProsper novella the , both

B. B.

T. T. Even her murder is depicted in erotic terms: «Saqué la navaja. Yo habría querido que Yo querido navaja. habría la «Saqué terms: erotic in depicted is Even murder her In fact, this portrait is just one of the many recurrent Spanish clichés present in Hol in present clichés Spanish recurrent many one of the just is portrait this fact, In At least, that is the narrator’s perception: «Dudo mucho que la joven Carmen fuera de de fuera Carmen joven que la mucho «Dudo perception: narrator’s the is that least, At Creed de Lauretis de p. 123. p. . Carmen dresses in black and red, has jet-black hair, soft skin, and jet-black and skin, has red, hair, soft and black in dresses . Carmen . The Monstrous-Feminine. Film, Feminism, Psychoanalysis Feminism, Film, Monstrous-Feminine. The . 36 35 Alice Cinema Doesn’t. Semiotics, Feminism, . All they have to do is deconstruct the fake transparency transparency fake the have to deconstruct do is they . All are stories about are people (the on borderlands the term . Instead, it shows everlasting scopophilia it shows everlasting . Instead, 39 . 37 . ; close-ups of shoes the , Bloomington: Indiana Indiana Bloomington: , , London: Routledge, Routledge, London: , , that is, sexual sexual is, , that 38 . Carmen - - - ,

Somehow,Carmen’s by tend Don José’s to justified actions be violent aggressive and Illinois P, pp. 221-23. 2002, Illinois States United the in of Hispanism History The (ed.), America: in Spain Kagan R.L. in fact that Don José is described by the traveler as the typical Petrarchan beloved Petrarchan typical the traveler by as Don the José described is that fact the is mercy. of this example than An further homoerotic goes that relationship of akind Don of establish traveler José. and them Both fascinated the narrators: all. after conventions patriarchal in her. believes like just other words, In María He avictim is wife. his suppressed by and negated been role has shows devotion phallic for his her father: whyis María that thefamily, in figure a castrating as theory, mother the functions to this D’Amata. According María as her professional career start Vargas and María as worried he or,looks pensive. cases, at these least, all In reflected. at center her; to no the be of desire attention ever is staring while smoking of him medium-shots several are there platonic. love For why their reason remains instance, the celebrity, be a shecould once becomes that out figure to afather so be presumably turns any lover.in never find aroleHarry she will Only model that symbolizes father María’s other On hand, the tales. stepmother of cruel from the fairy part the plays complex. María’s one On the hand, Electra to the mother allude clearly could scenes these of on corner. fact, a matter miserable the her looks centerat father the while As right she usually is general, In comments on her courage. makes narrator the while shots and medium full in star asilent over room She film the like moves all trial. the in order predominates showto María’s sequence where flash-editing interventions in (1937). Dwarfs Seven the and entire silent White Snow an is there second case, the In production Disney the in witch the her like mother’s,looks with contrast who actually in María of features facial the delicate shot thereis a emphasizing medium case, first end for her, in herfather hermurdering mother.the or one she the justifies which In in society. To by apatriarchal accepted to feel needs up,standards. sum María conservative to sheobliged as obey feels insofar will free adoptedher for her affected Unfortunately, tone serious three-shots. the several script in and girl director the screenplay, seriously by Mankiewicz’s taken with together one characters of few the invisible. be must No wonder, sexuality is her she lovers. hides female María that assumes conventionsshe as submissioninterpretedbe could social because to This available. man any with sex having herself demeans close-up and extreme an in of represent her life demands too much the forWhenever her, off hershoes she takes her magnetism. regrets María her sexuality, uses Carmen While of character. the the iterotic time, intensifies objectification reader. the same in the At pleasure sexual scopophilia Carmen herSomehow, leave Madrid her makes mother that it María’s is against anger her atragic mother which include in scene predicts episodes Some the of these The Carmen’s recreation of symptombe a could description of physical 40 p. 111. p. Carmen, , considering that it may provoke an unconscious process of association to it of provoke may association that , considering process unconscious an is presented from the point of view of two male, misogynistic misogynistic presented is male, point from the of of two view , Chicago: Uof , Chicago: 40 .

REVISTA CLEPSYDRA, 14; 2015, PP. 37-51 45 REVISTA CLEPSYDRA, 14; 2015, PP. 37-51 46 in in herself «a tramp» «a herself considers Myrna detail. full up in standing María shots showing reaction also are there that, after at some point. María Right to admire expecting and down, chatting shot eye-level men sitting showing an often is there center.at scenes, the these In always are dresses where her spectacular loose framings rooms in around walking alone center. at appears tally, the she never placed is opposition In María to this, by men shots eye-level surrounded whoin Inciden ignore her most of times. the down sitting usually is Myrna shows this. scène her Even complaints. mise-en the of why is she shown submissive instead is that past, have the must lost in Myrna that of dignity sense ahigh has María escort. high-maintenance his as commands Edward’s obeys She disappointed. reluctantly existentially looks and drinking and shown smoking blonde always is Myrna of terms attitude: without in curves), but also (bleach not opposed to is only Myrna, physically María woman. another and onist rather than acting» than rather ofplace object (lack), she [Woman] recipient the appearing is passively desire, of male the «Assigned to Kaplan, According of desire. object that of is male inhabit they dimension which only The areas. room for these women noin is there significant possibilities sexual of full body as a woman defines gaze male the that whenMulvey she states follows Laura Kaplan center. at the Ann right placed E. is that dress it the is Actually, atremendous impact. cause they that luxurious so are gowns the Indeed, clothing. her haute but couture not also spectator her shots, the only perceives strength, ling her. trave she alone in is that Despite fact the not from sexualizing stop jet setters pathetic. so becomes character this who continually suffered dishonor and physical abuse from abuse man her dishonor and physical suffered who continually ahumble bandit’s another as silent which in described girl is woman fragment the of sexes. the battle women men the and as he between relationship presents the honest is Mérimée on when violence. least, At based of code macho follow akind the former while supposed to fulfill, are latter the that ahobby fantasies create as and at women Men stare gaze. object women the of male which in the are comradeship aprofound creates Mérimée of novella, male sense this In page. same on very the and despotic looksensual can whyCarmen explains interpretations of That them. her never words read own but traveler’s the we will Carmen, Don and José’sregards no one and to she his be else’s. had audiencecruelty. that the He As reminding keeps In extreme close-ups, we first see María’s hands and later her feet, which introduce and laterMaría’s which see her feet, close-ups, we first hands extreme In pp. 1-2. pp. The Barefoot Contessa Barefoot The María looks sophisticated and distant in high-society parties, but that does does but that parties, high-society in distant and sophisticated looks María Carmen is the only portrait of a woman that the narrators offer, narrators except the for that of awoman only portrait the is Carmen 44 43 42 41

E.A. E.A. J.L. J.L.

p. 164. p. Carmen, p. 26. p. Ibidem, 43 . This reduction has social, political, and economic consequences, as andeconomic consequences, political, social, has reduction . This Mankiewicz Kaplan 42 . Indeed, this is a potential future for María as well, that is why is that well, as for María future a potential is this . Indeed, 44 . Woman is a fictional construct by male ideology, male by construct . Woman not a reality. afictional is . Women and Film. Both Sides of the Camera the of Sides Both Film. and Women there is, at some point, a comparison between the protag the at some is, there point, between acomparison The Barefoot Contessa Barefoot The (dir.). , Metro-Goldwyn-Mayer, 1954, n.p. , Metro-Goldwyn-Mayer, , New York: Methuen, 1983, York:, New Methuen, 41 . In addition,. In - - - women, and the male spectator women, male the and who objectify protagonists, male the not acamerawoman— acameraman, is there of scopophilia effect the explain person. present in that is she even not fact the of her objectification, theclimax is This dark. the in beheld been just on screen the has María shot, no is reaction there because precisely However, case gaze. this in of male the part of crowd therefore, the as and, part as appears he shot. also amedium Still, in shown apart sometimes is only Harry mise-en-scène of shots. eye-level This group isa series ina There ofdown men amplified. ones,sitting though previous to a mentor.is similar scene to as attempts controlthis herof acting editing The conversation not power. is revolves around present, her even Harry María friend their all and screen a test, after María’s future discussing are countries different shots. at her medium in staring men was shots. Previously, of reaction part agroup shots as of medium and full in by herself up all she standing is untouchable most time of times, but since, the same at the evident. She is desirable, María’s looks to contradictory, nobe seem cause as attitudes Carmen, Like reasoning. never her receive interpretations and own will audience shot. other of words, In the acrane by means in zoomed is narrator next the which the is, onein that momentchanges, final the Only times. three repeated is view eye shot from a cemetery thebird’s scene at same the very visually, perspectives different María’sby the were menIn affected whose lives orderpresence. expose to several active watchers, whereas women are passive recipients.includes women tendency passive not whereas watchers, are This active be complete including gender. including complete be approach should this though barriers, pushing to do with has drama show business this of is strength not The enough. this aroundMaría, theshowto circus efforts to be looked at, place of sexuality, and object and of desire» to of looked be at, place sexuality, Teresa «body states: spectacle. representationfollows the as of woman de Lauretis Contessa Barefoot The short, In lifestyle. to Carmen’s contrast in marginal existence on to follow her views own strength the lacks animal But this animal». beautiful «Theillustrating: world’s is film most the of tagline The words, text. a decomposed body. other In of pieces but afetishized as her being, acomplex not human as nally those of men looking at ofwomen» men those looking nally completely are eter looks and these that further, and, narrative, and editing shape turn in connotations, «which of have asign control. sexual is looks the Particularly, perceived, is image the way that the gaze, the that claims Mulvey dimension. Laura Kaplan uses Laura Mulvey’s theory of the three male gazes in cinema to cinema in gazes male Mulvey’s of three the Laura theory uses Kaplan men from several which in scene akey is there desire, asample of this As As in in As 47 45 46 T. T. M. M. E.A. E.A. de Lauretis de Humm Carmen Kaplan , op. cit. , op. cit., , The Barefoot Contessa Barefoot The , op. cit. , p. 17. p. 30. p. , p. 4. 46 : the gaze of the camera while it shoots —mainly, while of camera the gaze : the . Consequently, María as an entity is reduced to reduced one is entity . Consequently, an as María presents them as a dehumanized crowd where adehumanized as presents them 47 . In other words, in film men are unavoidablyare men other film words,. In in is narrated from the point from the of of view narrated is 45 . In spite. In of Mankiewicz’s -

REVISTA CLEPSYDRA, 14; 2015, PP. 37-51 47 REVISTA CLEPSYDRA, 14; 2015, PP. 37-51 48 «When he watched María, he watched Bravano watch María» he watch «When Bravano watched he María, watched remarks: Oscar competition. the As in prize the is María and argument have an athing. such not allow production the could behind context social Obviously, and succeed. historical the conventions, end the she not who in fought did social yet character astrong María, male gaze too, so they projected the voyeur attitude just like any other man any projected like just too, voyeur the attitude they so gaze male the experienced they spectators, female Regarding cameramen. were predominantly and therespectators. be time told,the at Truth filmmakers but also only characters, in all, this essay was groundbreaking at the time at the groundbreaking was essay this all, in preference were never mentioned, sexual but and of all anyway. race Questions attacked she was though inclusivean perspective, implied one. This feminine the to perspective masculine to from the go chance the had spectator female the that concluding «Afterthoughts», in her theory reviewed Mulvey response. aradical such 1968 after context demanded sound may questionable, historical the its postulates assumes her duties as aman’s her duties wife. as once his she becomes assumes property she all, move to Vincenzo’s Count she After can that so ic secluded castle. career theabandons that heris cinematograph one María film the in whereas Carmen, with in orderbehind be to that everything Donleaves is José difference The aristocrats. are characters male Both victimization. and butchaos courage, and mastery reflect bond not does this cases their in though even to related Mars, are Vincenzo and andDon Both honest. José soldier) complete,(a previous he dignified albeit looks María countthe not make does Certainly, ambiguous. is of film the discourse the the of hero, of figure the case the In action. amilitary wounded in being by him is questioned masculinity Countwhose of Vincenzo, figure by the introducing Flynn evident. becomes defencelessness perception and the of annulment This objectification. way, sexual of point-of-view effect the to intensify shots as so somein key perspectives male selected Mankiewicz time this aforementioned films, women. the of Unlike three perspective the through Channing Margo diva the women, of three whereas life marriage the (1949)Wives Three to incident: same ALetter the about of composed is flashbacks codes. follows morality of film gender the in discourse the short, of objects decoration. In of luxurious that is whose function beings human weaker protection as by as women gentlemen, is, treated are that it disguised is because of Mérimée case the in than more is of exploitation woman brutal of image ual the thesex film this In prestige. of social for men search rich in commodity exchange Another key scene is the one in which Alberto Bravano and Kirk Edwards Edwards Kirk and Bravano oneAlberto the which is scene in key Another This theory was a landmark in second wave feminism. some though secondEvenin wave of feminism. landmark a was theory This The Barefoot Contessa Barefoot The around revolving pointsview of tendseveral to offer films Mankiewicz’s 50 49 48 M. M. J.L. J.L. B. B. Creed Humm Mankiewicz , op. cit. , op. cit., , p. 109. The Barefoot Contessa. Barefoot The (dir.). pp. 24-25. pp. examines idealized male screen heroes such as Errol as heroes such screen male idealized examines All about Eve about All Metro-Goldwyn-Mayer, 1954, n.p. Metro-Goldwyn-Mayer, 49 . The same could be applied could to same . The (1950) of fall the reveals 50 . She becomes an . She an becomes 48 . - - all, she remains unknown. she remains all, María’s reflection of the with gender. After when dealing conservative it remains exploitation producers’ but personal and and labor incompetence for with art, deals adopted not is coherent when of abrave it gender. terms viewpoint in It maintains women Obviously, that lesson have to the learn. is, freedom, discourse that the not philosophy end,description. María’s torture, the provides In mental existential of its compassionate much María’s complexity as relevance the rates psychological as underit representation the misleading, in ofis presented women.discourse The step back is a of film the case the in Unfortunately, myth interpretation the of this Spain. nineteenth-century in Carmen’s brave personality reconstruct and gazes their deconstruct can reader the comments, narrators’ the not visible. be Granting where women system must asocial in her is invincibility quality most remarkable possible condemnation. Her every surpasses protagonist of female the strength prohibition. even or marginalization asuperioris in spite entity. social of thestrings Definitely, the that she is pulls one she because of games Carmen’s victim the Don sexual as novella, José seen the is ababy. In expecting Vincenzo’sCount was María homicide that despite fact the Somehow, passions. by dominated his justifies implicit film man ideology the the in property, his of not as a that by María not respected been has honor whose dignity of of Vincenzo’s Count a man that is behavior Carmen. rational he about is to kill opposition in police the to Don José’s shots when he calls when desperation full distant in civilized looks even motives. Vincenzo of tragic accumulation just an explanations, tone. are tragic therational no There increases This of Carmen. case the in intention —as to any die she has whatsoever that to see neveraudience gets the Nonetheless, is dead. María that thefact the forget audience never let flashbacks recurrent These of scene her end choral burial. the up in again once and that backs her to place. adesolate away when he takes run of to Don why is she not José is murdered norbe scared that she by try does him, to destiny, her selected according she will that, behavior. start from the She knows consequence as a of destiny, appears not Carmen Donof of The death José’sabusive tragedies. as categorized be could Therefore, texts both tone the and never changes. manliness. husband’s vagina dentata responsible. and Consequently, the guilty she feel assumes María makes which intercourse, anysexual for initiate someone get to her never They to leave like him. about impotent it too late she night, on learns and her wedding sexually is husband her since considered be she victimized could of María but case the in strength, independence of and their asymbol as bodies their inside phallus controlling the The novella by Prosper Mérimée is profoundly misogynistic, thebut The novella by Prosperis misogynistic, profoundlyMérimée flash composed is several of of film the view, narrative the to related this As thefromstart film the novella and the in everything impregnates Fatalism women who have phallic interpreted be as could María and Carmen Both complex, as she feels that she has annihilated or even swallowed her or swallowed even annihilated she has that complex, she feels as Aceptado: 25-10-2015 Recibido: 17-5-2015 Recibido: - -

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