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[Commlist] Atalante - CFP #32 - Female archetypes and the Star System in the history of Spanish cinema
Tue Jul 21 11:05:45 GMT 2020
We are pleased to announce the call for papers of issue 32 of
/L’Atalante. Revista de Estudios Cinematográficos/ which, under the
title of “*Female archetypes and the Star System in the history of
Spanish cinema*”, is open to contributions. Executive Issue Editors:
Xavier Pèrez and Núria Bou (Universitat Pompeu Fabra).
You can find detailed information at:
The period open for article proposals for the “Notebook” section goes
from November 1st to December 10th 2020. The issue will be published in
July 2021 and there are no article processing costs charged to authors.
We sincerely hope that this information may be of your interest. Please
feel free to share this call among your contacts. Thank you in advance.
/L’Atalante. Revista de estudios cinematográficos/
(info /at/ revistaatalante.com)
*FEMALE ARCHETYPES AND THE STAR SYSTEM IN THE HISTORY OF SPANISH CINEMA *
Acceptance of articles for the “Notebook” section: * November 1st to
December 10th 2020*
Archetypes in cinema, as Edgar Morin (1972) noted, are linked to the
faces of the stars who, from the earliest days, portrayed prototypical
characters that were repeated with the implicit strategy of creating
loyalty processes with audiences. In the case of actresses, the
different female figurations (from the innocent virgin to the femme
fatale) evolved over the years in such a way that neither the /bad
girls/ proved to be so evil nor the /good girls/ so angelic. During the
first half of the 20^th century (and despite the initial dominance of
the powerful and influential film industries of France, Italy and
Germany) it was the Hollywood star system that became the primary focus
in terms of the archetypical production of female characters related
with stardom. Later on, Molly Haskel (1973) and Marjorie Rossen (1973)
launched a critical feminist reading of the archetypes that were
conjured up by actresses in Hollywood’s Golden Age. Since then, in fact,
stars and their various typologies have been examined from various
viewpoints, including feminism, psychoanalysis (Gledhill, 1991), the
spheres addressed by gender studies (Studlar, 1996) and the ideas of
reception theory (Hansen, 1986; Stacey, 1994; Mayne, 1993). The idea
that in contemporary cinema, stars need to exhibit different identities,
embodying an “elastic self” (King: 2003), as if they needed to destroy
(or play at destroying) some of the fixed principles of the archetypal
notion that was invented by classic cinema all enables us to observe the
history of stardom in cinema as a process of figurative mutations that
is always related to the evolution of ideologies.
This succinct methodological arc that links the stars of cinema with
specific archetypes is not so easy to chart if we look at studies on
Spanish cinema. A monographic work from the early 1990s co-ordinated by
Vicente Sánchez Biosca and Vicente Benet (1994) for the magazine
/Archivos de la Filmoteca/ was, perhaps, the first comprehensive
academic attempt to carry out an academic reflection, in Spain, on the
figure of the film star, though neither the subject of archetypes nor
the specific context of Spanish cinema were the central themes of this
monographic piece. Thus a rich seam of research can be found at the
crossover point where the repeated typologies constituting the fictions
of Spanish film meet the stars that portrayed them, and which can help
to broaden our knowledge of this particular film industry. In this
respect, the current proliferation of works relating to feminist film
theory that aim to carry out a critical review of the role women have
held in the shaping of cinematographic imaginaries encourages us place
our focus of study on female archetypes. Admittedly, in this respect,
recent research (based on gender studies) has proposed the idea of
cataloguing the way women have been portrayed in Spanish cinema
(Labanyi, 2000; Feenstra , 2011 and Rincón Díez, 2014), though the
concept of the star has not played a particularly important role in
Most academics agree that the Spanish film industry was influenced by
the model of Hollywood stardom from its earliest days (though in the
first few decades there were no large production companies in Spain
capable of creating a star system like the one in the USA) and also that
production companies such as Cifesa and Suevia attempted to market
themselves in a similar manner (Benet: 2017). Marta García Carrión
(2017) makes the extremely telling point that the popularity some
actresses (such as Raquel Meller) enjoyed in the 1920s revealed a
culture of stardom among Spanish cinema audiences that came to permeate
the magazines and newspapers of that time. Raquel Meller provided
Spaniards with the archetype of the modern woman, and portrayed
characters that were rich in psychological nuance. Likewise (and now
within a more established film industry), in the time of Franco,
actresses such as Conchita Montenegro, Amparo Rivelles and Sara Montiel
emerged who embodied various female archetypes during the course of
their national and international careers, and who succeeded in
portraying characters that transgressed (more or less explicitly)
against the archetype of the passive, domestic, servile woman that was
promoted by the Fascist regime. Following the death of the dictator,
female archetypes took another reinvigorating turn as filmmakers such as
Almodóvar, Trueba, and Bigas Luna explored the affirmations of the world
of women though a new crop of actresses, some of whom (including Carmen
Maura and Penélope Cruz, representatives of two different generations)
gained considerable international recognition. In a more modern context,
the emergence of a generation of female directors who are aiming to
present, using their own voices, a more subtle view of the female
figurations of the earlier cinema has given rise to a new form of
/actress politics /that upholds, either consciously or unconsciously,
the paradigms of the /elastic self/ championed by Barry King.
In this issue of /L’Atalante/ we aim to critically reorganise the
materials that have appeared in the academic sphere regarding Spanish
female stars and the repeated archetypes to which they have devoted
their careers, and to subject this brief tradition to new, unprecedented
Priority will be given to the following fields:
1. The critical history of the methodologies used for analysing Spanish
2. Theoretical reflections on /Star Studies/ as applied to the Spanish
3. The connection between the female archetypes of Spanish cinema and
those of other film industries that might have inspired the former
throughout the various periods (Hollywood, Italian neorealism,
/nouvelle vague/, etc.)
4. Female archetypes as identities that represent national values
5. Feminist readings of female archetypes
6. Actresses as the torchbearers of new models of femaleness for women
7. Reflections on the eroticism of Spanish actresses
8. New models of femaleness in the 21^st century
9. The link between film genres and female archetypes
10. The iconographic tradition and female archetypes
11. Comparisons between female cinema models through the various periods
of the history of Spanish cinema
12. The ways in which Spanish women stars have been portrayed in
magazines and newspapers
We are looking for texts that focus on innovative research subjects
using rigorous, clearly-presented methodology. Priority will be given to
texts that make reference to the tradition of /Star Studies/, /Gender
Studies/ and /Feminist Film Theory/, even though (and providing the
socio-historical context is always included) works will be accepted that
are based on other methodologies (symbolic hermeneutics, cultural
studies, philological approaches, etc). Likewise, positive consideration
will also be given to texts that do not merely describe, itemise and
summarise specific details of the plots, but also rigorously apply a
specific analytical methodology and, in turn, yield tangible, innovative
BALMORI, Gillermo y Eugenio Fontaneda (coords.): /Mujeres de cine. Ecos
de Hollywood en España, 1914 1936, /
Madrid, Ministerio de Asuntos Exteriores y de Cooperación-AECID, 2015.
BENET, Vicente. “Tipologías del estrellato durante el franquismo.
Algunos ejemplos dominantes”. /Cinema Comparat/ive Cinema/ · Vol. V ·
Núm 10 · 2017 · 26-35
BOU, Núria, Pérez, Xavier. /El cuerpo erótico de la actriz bajo los
fascismos. España, Italia, Alemania 1939-1945. /Madrid: Cátedra, 2017.
COMAS, Angel. /El Star System del cune español de posguerra. 1939-1945/.
Madrid: T&B, 2004.
/Les stars et la cinéphilie dans la culture cinématographique espagnole
du début du /
e/ siècle: le cas Greta Garbo, /
tesis doctoral, Université Paris-Sorbonne, 2014.
DE FRANCISCO, Israel, Planes Pedreño, José Antonio y Pérez Romero,
/La mujer en el cine español. /Madrid: Arkadin, 2010.
DYER, Richard. /Las estrellas cinematográficas. /Barcelona: Paidós, 2001.
DYER, Richard. /Heavenly Bodies: Film Stars and Society. /London:
FEENSTRA, Pietsie. /New mythological figures in Spanish cinema:
dissident bodies under Franco./Amsterdam: Amsterdam University Press, 2011.
GARCIA Carrión, Marta. “Peliculera y española. Raquel Meller como icono
en los felices años veinte”. /Ayer, /num 106, pp. 159-181, 2017.
GLEDHILL, Christine. /Stardom: Industry of Desire/. New York: Routledge,
HANSEN, Miriam. “Pleasure, Ambivalence, Identification: Valentino and
Female Spectatorship”. /Cinema Journal/, vol 25, num 4, pp. 6-32, 1986
HASKELL, Molly. /From Reverence to Rape: The Treatment of Women in the
Movies/. Chicago: University of Chicago, 1973.
KING, Barry. “Embodying an Elastic Self: 'The Parametrics of
Contemporary Stardom/” /en Austin, Thomas i Barker, Martin (ed),
/Contemporary Hollywood Stardom/, London: Edward Arnold, 2003.
LABANYI, Jo. “Feminizing the nation: Women, Subordination
an*d* Subversion in Post-Civil War Spanish Cinema” en Ulrike Sieglohr
(ed). /Heroines without Heroes: Reconstructing Female and National
Identities. /London: Cassell, 2000.
LASALLE, M. /Complicated women. Sex and power in Pre-Code Hollywood.
LOSILLA, Carlos. “Ver hacia dentro, mirar hacia fuera: el deseo
femenino en el cine del franquismo”. /L'Atalante. Revista de estudios
cinematográficos/, 23, 19-28, 2017.
LOSILLA, Carlos. “La mujer al margen de la ficción. Algunas presencias
femeninas en el cine español de la década de 1940”. /Communication &
Society/ 30(3), 29 – 39, 2017.
MAYNE, Judith. /Cinema and spectatorship./ London: Taylor and Francis, 1993.
MORIN, Edgar. /Las stars. Servidumbres y mitos. /Barcelona: Dopesa, 1972.
RINCÓN DÍEZ, Aintzane.
R/epresentaciones de género en el cine español (1936-1982): Figuras y
Madrid, Centro de Estudios Políticos y Constitucionales, 2014.
Cowrd, McCann & Geoghegan, 1973.
SANCHEZ BIOSCA, Vicente, BENET, Vicente (Eds.) (1994), Monográfico “Las
estrellas: un mito en la era de la razón”. /Archivos de la Filmoteca/, 18.
SHINGLER, Martin. /Star Studies. A critical Guide. /London: Palgrave
Macmillan BFI, 2012.
SICLIER, Jacques. /Le mythe de la femme dans le cinéma americain/.
Paris: Les Éditions du Cerf, 1956.
SOILA, Tytti (ed.). /Stella Encounters: Stardom in Popular European
Cinema/. New Barnet, Herts: John Libbey, 2009
STACEY, Jackie, 1994. /Star gazing: Hollywood cinema and female
spectatorship/. London and New York: Routledge.
STUDLAR, Gaylyn. /In the Realm of Pleasure: Von Sternberg, Dietrich, and
/Masochistic Aesthetic. New York: Columbia University Press, 1988.
STUDLAR, Gaylyn. /Stardom and Masculinity in the Jazz Age. /New York:
Columbia University Press, 1996.
STUDLAR, G. /Precocious Charms. Stars Performing Girlhood in Classical
Hollywood Cinema/. Berkeley, Los Angeles: University of California
WALKER, Alexander. /Stars. /Madrid: Torres de papel, 2014.
/L'Atalante. Revista de estudios cinematográficos/ accepts submissions
of unpublished essays on topics related to film theory and/or praxis
that stand out for their innovative nature. Articles should focus on
approaches to the cinematographic fact made preferably from the
perspectives of historiography or audiovisual analysis. Those texts that
approach novel objects of study with rigorous and well-evidenced
methodologies will be appreciated. Articles that take as their main
reference the processes of signification through the analysis of the
audiovisual form and/or the narratological elements specific to our
field, focusing on methodologies specifically related to the treatment
of the image will be favoured in the selection process. Although we
accept works with other methodologies that approach the filmic fact from
transversal perspectives (Cultural Studies, philological approaches,
etc.) we consider that the main interest of the journal is located on
the studies that take the specifically cinematographic expressive tools
as the main elements of discourse. Likewise, texts that are not limited
to describing, enumerating or summarizing details of the plot, but that
rigorously apply a specific and well-evidenced analysis methodology,
reaching particular and novel results, will be given priority.
Below are a few aspects to keep in mind:
·Submissions must be original and must conform to the submission
guidelines of the journal and to the standards and scientific rigour
expected of an academic publication
·Submissions will be evaluated for the originality of the topic
explored, especially if it relates to an issue not previously addressed
in the publication. Submissions dealing with topics previously addressed
in the journal may be rejected. The content of the issues published to
date can be consulted on the journal's website.
·All submissions will undergo an external peer review process that will
respect the anonymity of both authors and reviewers (double blind peer
review) in an effort to prevent any possibility of bias. In the event of
a very high number of submissions, the Editorial Board will make a prior
selection of the articles to be peer reviewed, choosing the articles
deemed the most appropriate for the issue. Failure to observe the
submission guidelines and/or standards of originality and academic
rigour will result in rejection of the submission by the Editorial Board
without external review.
·Authors of accepted submissions will be contacted within six months.
·Articles (which should be between 5,000 and 7,000 words including all
sections) must be submitted via the website of the journal as .rtf, .odt
or .docx files, using the template provided for this purpose. Files
containing the author's statement (.pdf) and any images (.psd, .png,
.jpg, .tiff) must be uploaded to the website as complementary files. A
detailed version of the submission guidelines can be found at the
following link. Any articles that fail to meet these requirements will
be rejected automatically.
·The selected articles will be published in a bilingual edition (Spanish
and English). The authors of the texts accepted for publication must pay
the costs that result from the translation or revision - in the case of
providing, along with the original, a translated version - of their
article. In all cases, and in order to guarantee the quality of the
translations and the unity of linguistic criteria, the text must be
translated or reviewed by the translator recommended by the journal. His
work will be paid in advance and via Paypal by the authors.
·/L'Atalante/ does not offer any compensation for published articles.
For more information: (info /at/ revistaatalante.com)
/*L'Atalante. Revista de estudios cinematográficos*/
(info /at/ revistaatalante.com) <mailto:(info /at/ revistaatalante.com)>
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