Victoria Abril in Transnational Context
Bibliographic Data
| ID | 16774286 |
|---|---|
| Authors | Chris Perriam (0000-0002-5664-8389, corresponding author) |
| Year | 2007 |
| Volume | 8 |
| Issue | 1 |
| Pages | 27-38 |
| Publication date | 2007-02-01 |
| Open Access | No |
| Type | ARTICLE |
| Venue | Hispanic Research Journal (JOURNAL) |
| Journal identifiers | ISSN: 1468-2737 • E-ISSN: 1745-820X |
| Publisher | Informa UK Limited (PUBLISHER • GB) |
| DOI | 10.1179/174582007x164311 |
| OpenAlex | W2085191289 |
| Language | EN |
| References cited | 4 |
The article explores a range of cultural-political and aesthetic effects created by film actors working across linguistic and geopolitical dividing lines but carrying with them strong and stereotypical signs of original nationality. It takes Spanish-born actor Victoria Abril as an example, in Padre nuestro (Francisco Regueiro, 1984), Gazon maudit (Josiane Balasko, 1995), Sin noticias de Dios (Agustín Díaz Yanes, 2001), and 101 Reykjavik (Baltasar Kormákur, 2001). It suggests that Abril's representations of sexuality and gendered and national identity, enhanced by transnationalizing musical soundtrack and hybrid settings, end up freeing her and her audience from impoverished notions of fixed difference
Aesthetics · Archaeology · Art · Art history · Context (archaeology · Ethnology · Geopolitics · Human sexuality · Humanities · Identity (music · Immigration · League · Literature · Musical · National identity · Nationality · Political science · Politics · Sociology · Gender Studies · Historical and Modern Theater Studies · History · Law · Media, Journalism, and Communication History · Spanish Culture and Identity
| Highly cited | No |
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