Ambigua (Feb 2020)
La actriz en Primer Plano bajo el primer franquismo: ¿un punto de apoyo para un feminismo amordazado? (1940-1945)
Abstract
The film magazine Primer Plano, whichappears in October 1940,is designed from the beginningas the Franco Regime’s official mouthpiece in everything associated with cinema. At the same time, this magazine perpetuates the paradigm of “hybrid” or popular film press–the predominant onesince the 1910s–, a feature which contributes to the heterogeneity of its contents. In particular, the presence of actresses and star system is a vector of ambiguities insofar as it contradicts the official gender discourse and the female model promoted by the Franco regime: the angel of the house. The actress, in fact, is a woman whoenjoys a certain freedom as sheworksoutside of the domestic sphere, pursuingpersonal projects and fulfillment and, in some cases, embodyinga model of independence.From the perspective of CulturalStudiesand Gender Studies, and from the texts published in Primer Plano–articles, interviews, testimonies –, this paper analyzes the discourses which circulates around the figure of the actress –considered in a generic way, even though the examples mayrefer to specific cases –during the most unbendingperiod of the Franco dictatorship. Theaim is to study thestrategies which are used in order to eclipse and deny her subversive facets, as well as the articles and interviews which highlight and praise them,for instancethrough the mention of the actresses’ personal life. The study also uses some readers’ letters which were publishedin the magazine during theperiodin question.From all these elements, it shows how the actress crystallizes the most opposed positions onfeminity and opens some loopholes for the expression of a muzzled feminism
