{"id":{"repo_id":"uiuc","oai_identifier":"oai:www.ideals.illinois.edu:2142/87303"},"canonical_url":"https://search.dev.ndltd.org/etd/uiuc/oai:www.ideals.illinois.edu:2142/87303","repository":{"repo_id":"uiuc","name":"University of Illinois - Urbana-Champaign","base_url":"https://www.ideals.illinois.edu/oai-pmh"},"display":{"title":"Failure to Deliver: Transitional Masculinities in Late and Post Francoist Films (1963--1984)","abstract":"The final chapter of my dissertation is devoted to the actress Bibi Andersen, who first became famous in the early 1970s as a transsexual whose image became an icon of the social transformations that the whole country had gone through. I examine how her initial marginality found a way to become mainstream and her image was negotiated in Spanish media. More precisely, I look at films that narrativize that evolution and became poignant chronicles of the deep transformation that gender definitions suffered in little more than twenty years. From one of the first Spanish films on transsexuality, Cambio de sexo (Vicente Aranda, 1977), where she plays herself, to Pedro Almodovar's early films, in which her roles are ironic comments not only of film genres, but also of traditional gender roles. Cast as a femme fatale, a mother who leaves her daughter to her transsexual ex-lover, or as a lesbian jail chick, her image renders a satiric comment at the same time that opens a world of endless possibility when gender ascriptions are concerned. (Abstract shortened by UMI.).","abstract_html":"The final chapter of my dissertation is devoted to the actress Bibi Andersen, who first became famous in the early 1970s as a transsexual whose image became an icon of the social transformations that the whole country had gone through. I examine how her initial marginality found a way to become mainstream and her image was negotiated in Spanish media. More precisely, I look at films that narrativize that evolution and became poignant chronicles of the deep transformation that gender definitions suffered in little more than twenty years. From one of the first Spanish films on transsexuality, Cambio de sexo (Vicente Aranda, 1977), where she plays herself, to Pedro Almodovar's early films, in which her roles are ironic comments not only of film genres, but also of traditional gender roles. Cast as a femme fatale, a mother who leaves her daughter to her transsexual ex-lover, or as a lesbian jail chick, her image renders a satiric comment at the same time that opens a world of endless possibility when gender ascriptions are concerned. 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