The Importance of Gender Representations in Spanish Cinema

The different industrial plant of art from paintings to literary pieces present public themes in the society. They act as small frag workforcets of a comprehensive historical narrative. These fragments, though fictional, are fluid able to contrive true scenarios, real(a) life stories from which they are found upon. To a certain extent, strikes serve the same purpose as either work of art they present the artists feelings, thoughts, and speculateions on any(prenominal) is happening in the society at the time of its creation.The different elements in any motion-picture show the social setting and the sex activity delegations do not only bring life to its plot. Rather, these thematic elements of the film contribute amply on its general appeal and overall impact to its audiences. In this cover however, the researcher appropriate only focus on genius of these elements gender agency. Putting a specific focus on this study, this paper will only explore the importance of these models in Spanish picture show.To perform this purpose, putting green gender representations in some Spanish films will be revealed in relation to how it reflects the prevalent issues in Spanish society how it adds to the films appeal to topical anesthetic anesthetic audiences and how it provides an imaging of Spanish identities to local and multinational motion-picture show goers. 1st Assumption sex representations grant the films the ability to reflect the prevailing issues in the Spanish Society In the past few age, domestic help help rage has been a prevalent social problem in Spanish communities.Reports show that there is a high count of women who are woefulness from the violence and physical abuse comprise by their preserves and partners. Based on the report of Emma Daly in Christian Science Monitor, the Spanish society is scathe from a machismo destination where women are treated as inferior to men. (Daly, 1998) In relation to this all important(p) social issue, more films likewise carry domestic violence as probatory thematic components in their plots. In such(prenominal) films, women are portray as the victims of their husbands consummation of their masculinity in a largely paterfamilias society that equates women to second-class citizens.Solo mia (2001) is one of the films which reflect this social issue. The movie puts into film a typical story that takes arrange not only in Spain but also in many societies where a once loving and tender relationship goes wrong. As shown in the movie, the relationship gradually transforms into a tale of obsession which prompts the husband to repeatedly subject his wife to domestic violence. (Saenz, 2009) The same social issue envelopes the film Princesas (2005) and El Bola (2000).In the first film, a prostitute suffers from the violence introduced by her lover while in the latter shows that children can also change by reversal victims of what is known in Spain as Terrorismo Familiar . Basically, Spanish cinema reflects not just the fact that domestic violence prevails in the real Spanish community. Rather, gender representations in the film also show that such type of violence affects women of all ages, and in different social classes. With the men presented to the highest degreely as the perpetrator of the violence, the films further shows that men in Spain practically act adversely a makest the inferior women. nd Assumption Gender representation increases the films appeal to local audiences by reinforcing nationalism and providing greater grounds for linkage and identification. Since Spanish cinema reflects prevalent values, ideas, and practices in the Spanish community, it gives the film a more localized appeal. The tendency to magnify ones identification with their culture further increases the movies appeal to the local moviegoers. Basically, most of the Spanish films pose a generic thematic distinction from the mainstream Hollywood movies.While most Hol lywood movies take the themes of liberal women who are posed as office role players and even successful professionals, most Spanish movies reflect on the importance of motherhood a local theme that is commonplace in many traditional patriarchal societies. Solas is one of the most noteworthy films that glorify maternity as the only way for a womanhood to achieve real contactment and happiness. The film revolves around the story of genus genus Rosa and her fille mare. The two, both victims of domestic violence, are reunited after several years of being apart.Rosa has become a passive victim to her husbands abuse but Maria refuses to surrender to the despotism and instead, decides to put out in the city. However, Maria inevitably ends up in the same positioning as that of her mother being physically and emotionally abused by her boyfriend. To a certain degree, the portrayal of motherhood in the story whole kit in two contrasting ways. Rosa retains the profile of the typical mother. She is portrayed as the submissive and self sacrificing woman who is willing to endure consuming hardships the abuse of her husband in order to potentially save her family from go apart.However, she fails as Maria se mirror symmetrytes herself from the threat that her father poses. Fortunately, in line with Rosas angelic qualities as a mother, she is able to save her daughter from leading a devastating lifestyle through her captivating and worked up love and care. Following these implications, motherhood is presented in the story as a self-denying role which women must embrace not only to provide a certain sense of accomplishment but also to gain the ability to save people whom they care for.Motherhood is also presented as a Spanish womans way toward salvation and convalescence as depicted in Marias character. Marias relationship with his boyfriend reflected a destructive scenario which led to her alcoholism. However, as Maria became pregnant, that signaled her positi ve transformation from an angry and hostile character to another maternally figure thats kind, passionate, loving, and forgiving. In essence, Marias motherhood became her send off from the destructive factors that formerly consumed her life.Such gender representation embedded in the plot of the movie allows the local audiences particularly women to relate to characters and watch the film. tertiary Assumption Gender representation in Spanish films offers both local and supranational audiences with an imagination of Spanish identities Gender representation forms a significant part of the local Spanish cultures and traditions. As films carry gender representation which is reflective of a distinct heathenish identity, they then achieve implication as cultural accounts.The fact that the movies provide both local and international audiences with an idea of what comprises a real Spanish community qualifies them as applicable educational and enriching artifacts. In addition to that , these artifacts not only promote an imagination of Spanish identities. Rather, the Spanish movies also help people of other cultures in learning, appreciating, and understanding Spanish culture. For example, in the film Coma agua para chocalate (1992) or Like water for chocolate, the gender representations mirror how important must both men and women adhere to old superstitions and traditions.The film shows that labor union and love are restricted by old Spanish traditions as a young couple Pedro and Tita could not get married evidently because Titas oldest sister has to get married first and because Tita had to first fulfill her domestic roles and responsibilities to her mother. Gender representation in La casa de los espiritus (1993) or The digest of the Spirits also offers a glimpse at Spanish culture. This film shows the importance of social class as a local rags-to-riches patriarch does everything to prevent his daughter from marriage a lower class worker who fights for socialism.The same theme inspires the film, The Dog in the Manger (1995). In the movie, a Countess falls in love with his secretary. However, social status stands on their way. Furthermore, this feast in social position increasingly widens as the Countess, as a woman is expected to be submissive to societal expectations. Conclusions Gender representations become important elements to Spanish cinema mainly because they reflect prevailing issues and themes in a natural Spanish community.As these themes are reflected and portrayed, the films gain the local audiences attention through the formation of linkages and character identification. Gender representations embedded in the plot also qualify the films as cultural artifacts that offer audiences with a glimpse of Spanish culture. On the whole, gender representation promotes the appreciation of not just Spanish movies, but of the Spanish culture as well. Through the gender roles promoted in the films, both local and international audi ences learn how Spanish culture must be understood and appreciated.