Marilina Ross como estrella queer en la España de la transición: libertades y ansiedades en torno a un cuerpo transgresor.

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Bibliographic Details
Title:	Marilina Ross como estrella queer en la España de la transición: libertades y ansiedades en torno a un cuerpo transgresor. (Spanish).
Alternate Title:	Marilina Ross as a queer star in Spain during the transition to democracy: freedoms and anxieties around a transgressive body. (English)
Authors:	Lomas Martínez, Santiago, Fernández Labayen, Miguel
Source:	Arenal.Revista de Historia de las Mujeres. jul-dic2024, Vol. 31 Issue 2, p379-405. 27p.
Subjects:	DICTATORSHIP, MILITARY government, MOTION picture industry, FILM characters, MASCULINITY
Abstract (English):	Actress Marilina Ross lived in Spain between 1976 and 1980, after being exiled from Argentina in the face of an imminent and fierce military dictatorship. The commercial and critical success of the film La Raulito (1974), released in the final months of Franco's regime, opened the doors of the Spanish film industry for her. The image of the main character of the film, a woman of masculine appearance who fights for her freedom against multiple institutional and social obstacles, would determine her career in Spain. This article studies her stardom in this country by analysing the films in which she participated and how the press of the time treated her, paying attention to the reception of La Raulito in Spain too. Despite her prestige and her work in the realm of art cinema, Ross's roles were determined by patriarchal and ethnocentric limitations, where aspects such as masculinity, foreignness or transformation were recurrent. Around her transgressive body, patriarchal anxieties can be detected: filmmakers and journalists try to relocate Ross's body in markedly androcentric characters and narratives, often undressing it to reestablish the gender certainty that the ambiguous sexual indefiniteness of La Raulito had introduced, problematising the dominant ways of representing gender of the time. [ABSTRACT FROM AUTHOR]
Abstract (Spanish):	La actriz Marilina Ross vivió en España entre 1976 y 1980, tras exiliarse de Argentina ante una inminente y feroz dictadura militar. El éxito comercial y crítico del filme La Raulito (1974), estrenado en los meses finales del franquismo, le abrió las puertas de la industria cinematográfica española. La imagen de este personaje, una mujer de apariencia masculina que lucha por su libertad frente a múltiples obstáculos institucionales y sociales, determinaría su carrera en España. Este artículo estudia su estrellato en este país analizando las películas en las que participó y su tratamiento mediático en la prensa de la época, prestando atención también a la recepción de La Raulito en España. A pesar de su prestigio y de trabajar en el cine de autor de la época, los papeles de Ross se vieron determinados por limitaciones patriarcales y etnocéntricas, donde aspectos como la masculinidad, la extranjeridad o la transformación fueron recurrentes. Alrededor de su cuerpo transgresor pueden detectarse ansiedades patriarcales que tratan de reubicarlo en personajes y narrativas marcadamente androcéntricos, desnudándolo con frecuencia para restablecer la certidumbre de género que la ambigua indefinición sexual de La Raulito había introducido, problematizando las formas dominantes de representar el género en la época. [ABSTRACT FROM AUTHOR]
Database:	Referencia Latina

Description
Abstract:	Actress Marilina Ross lived in Spain between 1976 and 1980, after being exiled from Argentina in the face of an imminent and fierce military dictatorship. The commercial and critical success of the film La Raulito (1974), released in the final months of Franco's regime, opened the doors of the Spanish film industry for her. The image of the main character of the film, a woman of masculine appearance who fights for her freedom against multiple institutional and social obstacles, would determine her career in Spain. This article studies her stardom in this country by analysing the films in which she participated and how the press of the time treated her, paying attention to the reception of La Raulito in Spain too. Despite her prestige and her work in the realm of art cinema, Ross's roles were determined by patriarchal and ethnocentric limitations, where aspects such as masculinity, foreignness or transformation were recurrent. Around her transgressive body, patriarchal anxieties can be detected: filmmakers and journalists try to relocate Ross's body in markedly androcentric characters and narratives, often undressing it to reestablish the gender certainty that the ambiguous sexual indefiniteness of La Raulito had introduced, problematising the dominant ways of representing gender of the time. [ABSTRACT FROM AUTHOR]
ISSN:	11346396
DOI:	10.30827/arenal.v31i2.24607