{"title":"Growing Old (Dis)gracefully","authors":"J. Collins, S. Gilligan","doi":"10.3167/jbsm.2023.040106","DOIUrl":null,"url":null,"abstract":"\nThrough a close textual analysis of Dolor y Gloria (dir. Pedro Almodóvar 2019), Todos lo Saben (dir. Asghar Farhadi 2018), and cross-media promotions, this article argues that through costuming, facial hair, and the body, Antonio Banderas and Javier Bardem offer intersecting, but diverging performances of visibly ageing masculinity. On screen, the spectator is offered sensitive and emotional explorations of Spanish masculine identities that represent Banderas and Bardem as men forced to sacrifice those they love. Conversely, off screen in editorial photography and on the red carpet, their star-celebrity representations are characterized by flux and difference. Bardem's persona offers an aspirational representation of heteronormative stability, whereas Banderas’ image is dominated by instability, playfulness, and striving to retain his youthful sex appeal.","PeriodicalId":166761,"journal":{"name":"Journal of Bodies, Sexualities, and Masculinities","volume":"13 1","pages":"0"},"PeriodicalIF":0.0000,"publicationDate":"2023-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":null,"platform":"Semanticscholar","paperid":null,"PeriodicalName":"Journal of Bodies, Sexualities, and Masculinities","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.3167/jbsm.2023.040106","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"","JCRName":"","Score":null,"Total":0}
引用次数: 0
Abstract
Through a close textual analysis of Dolor y Gloria (dir. Pedro Almodóvar 2019), Todos lo Saben (dir. Asghar Farhadi 2018), and cross-media promotions, this article argues that through costuming, facial hair, and the body, Antonio Banderas and Javier Bardem offer intersecting, but diverging performances of visibly ageing masculinity. On screen, the spectator is offered sensitive and emotional explorations of Spanish masculine identities that represent Banderas and Bardem as men forced to sacrifice those they love. Conversely, off screen in editorial photography and on the red carpet, their star-celebrity representations are characterized by flux and difference. Bardem's persona offers an aspirational representation of heteronormative stability, whereas Banderas’ image is dominated by instability, playfulness, and striving to retain his youthful sex appeal.
通过对《悲歌》的文本分析。Pedro Almodóvar 2019), Todos lo Saben(导演)。Asghar Farhadi 2018),以及跨媒体宣传,本文认为,通过服装、面部毛发和身体,安东尼奥·班德拉斯和哈维尔·巴登提供了交叉但又不同的表演,展现了明显衰老的男子气概。在银幕上,观众对西班牙男性身份进行了敏感而感性的探索,这些身份代表了班德拉斯和巴登作为被迫牺牲所爱之人的男人。相反,在银幕外的编辑摄影和红毯上,他们的明星-名人形象具有变化和差异的特征。巴登的角色提供了异性恋稳定的理想代表,而班德拉斯的形象主要是不稳定,顽皮,努力保持他年轻的性感。