Ventura Pons and Rosa Maria Sardà: Acting, the nation and cinema as totality1 | Intellect Skip to content
1981
  1. Home
  2. A-Z Publications
  3. Studies in Spanish & Latin American Cinemas
  4. Volume 19, Issue 2
  5. Article
Cine-Lit: Mujer y Genero/Women and Genre
  • ISSN: 2050-4837
  • E-ISSN: 2050-4845

Abstract

In his lifelong career as a film director, Ventura Pons has been praised for his unique and consistent approach to female roles. Between 1978 and 2018 he worked with virtually all of the most important Catalan actresses and developed a special affinity with some of them, such as Rosa Maria Sardà and Amparo Moreno. The extraordinary interpreting palette of both Sardà and Moreno provided Ventura Pons with a powerful repertoire of acting tones and hues, most notably in comedic genres. This article explores Pons’s construction of national discourses through the roles and performances of Sardà, focusing on the interrelated issues of self-image and national allegory. The notion of self-image, as developed by imagologists Beller and Leerssen (2007), is most relevant in the context of the Catalan nation-building project, which runs in parallel to the othering of aspects of Catalan identity that are increasingly felt as alien.

Funding
This study was supported by the:
  • Madrid Institute for Advanced Study and Universidad Carlos III/Banco Santander
© 2022 Intellect Ltd
Loading

Article metrics loading...

/content/journals/10.1386/slac_00082_1
2022-12-21
2024-04-28
Loading full text...

Full text loading...

References

  1. Almodóvar, P.. ( 1999), Todo sobre mi madre (All About My Mother), Spain and France:: El Deseo, Renn Productions, France 2 Cinéma, Vía Digital and Canal+;.
     [Google Scholar]
  2. Beller, M., and Leerssen, J.. (eds) ( 2007), Imagology: The Cultural Construction and Literary Representation of National Characters: A Critical Study, Leiden and Boston, MA:: Rodopi;.
     [Google Scholar]
  3. Coixet, I.. ( 2017;), ‘ Rosa y Sant Jordi. ’, El País, 19 November, https://elpais.com/elpais/2017/11/17/opinion/1510938405_497350.html. Accessed 26 December 2020.
     [Google Scholar]
  4. Corporació Catalana de Mitjans Audiovisuals, SA ( 2020;), ‘ Ventura Pons recorda Rosa Maria Sardà. ’, 11 June, https://www.ccma.cat/tv3/alacarta/tot-es-mou/ventura-pons-recorda-rosa-maria-sarda/video/6047223/. Accessed 26 December 2020.
  5. Delgado, M.. ( 2015;), ‘ A favor de los valientes: Ventura Pons y su cine de autor. ’, in C. Domènech, and A. Lema-Hincapié. (eds), Ventura Pons: una mirada excepcional desde el cine catalán, Madrid and Frankfurt am Main:: Iberoamericana/Vervuert;, pp. 329–47.
     [Google Scholar]
  6. Domènech, C., and Lema-Hincapié, A.. (eds) ( 2015), Ventura Pons: una mirada excepcional desde el cine catalán, Madrid and Frankfurt am Main:: Iberoamericana/Vervuert;.
     [Google Scholar]
  7. Donapetry, M.. ( 2006), Imagi/nación: la feminización de la nación en el cine español y latinoamericano, Madrid:: Fundamentos;.
     [Google Scholar]
  8. Féjerman, D., and París, I.. ( 2002), A mi madre le gustan las mujeres (My Mother Likes Women), Spain:: Fernando Colomo P.C;.
     [Google Scholar]
  9. Fernàndez, J.-A.. ( 2002), Another Country: Sexuality and National Identity in Catalan Gay Fiction, London:: Maney for the Modern Humanities Research Association;.
     [Google Scholar]
  10. Fernàndez, J.-A.. ( 2012;), ‘ Translating the enigma: Temporality and subjectivity in Ventura Pons’s Barcelona (Un mapa). ’, in H. Buffery, and C. Caulfield. (eds), Barcelona: Visual Culture, Space and Power, Cardiff:: University of Wales Press;, pp. 119–32.
     [Google Scholar]
  11. Fouz-Hernández, S.. ( 2015;), ‘ La mirada homoerótica en el cine de Ventura Pons. ’, in C. Domènech, and A. Lema-Hincapié. (eds), Ventura Pons: una mirada excepcional desde el cine catalán, Madrid and Frankfurt am Main:: Iberoamericana/Vervuert;, pp. 305–27.
     [Google Scholar]
  12. García Carrión, M.. ( 2017;), ‘ Peliculera y española: Raquel Meller como icono nacional en los felices años veinte. ’, Ayer: Revista de Historia Contemporánea, 106, pp. 159–81.
     [Google Scholar]
  13. Gimeno Ugalde, E.. ( 2014;), ‘ Un cine con acento: polifonía, multilingüismo y alteridad en el cine de Ventura Pons. ’, Zeitschrift für Katalanistik, 27, pp. 69–84.
     [Google Scholar]
  14. Gómez, M. A.. ( 2006;), ‘ Teatro, género e identidad en el cine español: Cómicos de Juan Antonio Bardem y Actrices de Ventura Pons. ’, Hispania, 89:1, pp. 202–11.
     [Google Scholar]
  15. Gómez Pereira, M.. ( 1993), ¿Por qué lo llaman amor cuando quieren decir sexo? (Why Do They Call It Love When They Mean Sex?), Spain:: Audiovisuales Nebli and Cristal P.C;.
     [Google Scholar]
  16. Holland, J.. ( 2001;), ‘ Berlin: Anita Takes a Chance. ’, Variety, 382:1, p. 42.
     [Google Scholar]
  17. Holmqvist, J.. ( 2015;), ‘ The representation of the Spanish metropolis in the cinema of Pedro Almodóvar and Ventura Pons: Urban change and global habitat. ’, Ph.D. thesis, Melbourne:: University of Melbourne.
     [Google Scholar]
  18. Lukács, G.. ( 1971), The Theory of the Novel: A Historico-philosophical Essay on the Forms of Great Epic Literature (trans. A.,, Bostock.), Cambridge, MA:: MIT Press;.
     [Google Scholar]
  19. Mamoulian, R.. ( 1933), Queen Christina, USA:: Metro-Goldwyn-Mayer;.
     [Google Scholar]
  20. Martínez Expósito, A.. ( 2015), Cuestión de imagen: cine y Marca España, Vigo:: Academia del Hispanismo;.
     [Google Scholar]
  21. Martínez Lázaro, E.. ( 2015), Ocho apellidos catalanes (Spanish Affair 2), Spain:: Lazonafilms, Mogambo and Telecinco Cinema;.
     [Google Scholar]
  22. Martí-Olivella, J.. ( 2000;), ‘ Ventura Pons o la teatralizació de la impostura. ’, in J.-A. Fernàndez. (ed.), El gai saber: introducción als estudis gais i lèsbics, Barcelona:: Llibres de l’Índex;, pp. 373–92.
     [Google Scholar]
  23. Mira, A.. ( 2008), Miradas insumisas: gays y lesbianas en el cine, Madrid and Barcelona:: EGALES;.
     [Google Scholar]
  24. Naficy, H.. ( 2001), An Accented Cinema, Princeton, NJ:: Princeton University Press;.
     [Google Scholar]
  25. Orduña, J. de. ( 1948), Locura de amor (The Mad Queen), Spain:: CIFESA;.
     [Google Scholar]
  26. Oristrell, J.. ( 2001), Sin vergüenza (No Shame), Spain:: Antena 3 TV, Creativos Asociados de Radio y Televisión, Ensueño Films, Tornasol Films and Vía Digital;.
     [Google Scholar]
  27. Peña, R.. ( 2001;), ‘ Festivals: Berlin: Same difference. ’, Film Comment, 37:3, p. 65.
     [Google Scholar]
  28. Perriam, C.. ( 2013), Spanish Queer Cinema, Edinburgh:: Edinburgh University Press;.
     [Google Scholar]
  29. Pons, V.. ( 1978), Ocaña, retrat intermitent (Ocaña, an Intermittent Portrait), Spain:: Prozesa and Teide P.C;.
     [Google Scholar]
  30. Pons, V.. ( 1981), El vicari d’Olot (The Vicar of Olot), Spain:: Cop-Nou, Germinal Films, Profilmar P.C. and Teide P.C;.
     [Google Scholar]
  31. Pons, V.. ( 1991), Què t’hi jugues, Mari Pili? (What Do You Bet, Mari Pili?), Spain:: Els Films de la Rambla;.
     [Google Scholar]
  32. Pons, V.. ( 1997), Actrius (Actresses), Spain:: Canal+ España, Els Films de la Rambla, Generalitat de Catalunya and Televisión Española;.
     [Google Scholar]
  33. Pons, V.. ( 1998), Carícies (Caresses), Spain:: Els Films de la Rambla, Generalitat de Catalunya, Televisió de Catalunya and Televisión Española;.
     [Google Scholar]
  34. Pons, V.. ( 1999), Amic/Amat (Beloved/Friend), Spain:: Els Films de la Rambla, Generalitat de Catalunya, Televisió de Catalunya, Televisión Española and Canal+ España;.
     [Google Scholar]
  35. Pons, V.. ( 2001), Anita no perd el tren (Anita Takes a Chance), Spain:: Els Films de la Rambla, Televisió de Catalunya, Televisión Española and Canal+ España;.
     [Google Scholar]
  36. Pons, V.. ( 2002), Food of Love, Spain and Germany:: 42nd Street Productions, Els Films de la Rambla, FFP Media Entertainment, Televisió de Catalunya, Televisión Española and Vía Digital;.
     [Google Scholar]
  37. Pons, V.. ( 2007), Barcelona (un mapa) (Barcelona [A Map]), Spain:: Els Films de la Rambla, Generalitat de Catalunya, Televisió de Catalunya, Televisión Española, Instituto de Crédito Oficial and Instituto de la Cinematografía y de las Artes Audiovisuales;.
     [Google Scholar]
  38. Pons, V.. ( 2011a), Any de Gràcia (Year of Grace), Spain:: Els Films de la Rambla, Generalitat de Catalunya, Televisió de Catalunya, Televisión Española, Instituto de Crédito Oficial and Instituto de la Cinematografía y de las Artes Audiovisuales;.
     [Google Scholar]
  39. Pons, V.. ( 2011b), Els meus (i els altres), Barcelona:: Proa;.
     [Google Scholar]
  40. Pons, V.. ( 2013), Ignasi M, Spain:: Els Films de la Rambla, Institut Català de les Empreses Culturals, Televisió de Catalunya and Instituto de la Cinematografía y de las Artes Audiovisuales;.
     [Google Scholar]
  41. Pons, V.. ( 2018a), He tastat molts fruits de l’arbre de la vida, Barcelona:: Comanegra;.
     [Google Scholar]
  42. Pons, V.. ( 2018b), Miss Dalí, Spain:: Els Films de la Rambla;.
     [Google Scholar]
  43. Quintana, À.. ( 2015;), ‘ Ventura Pons: una larga travesía por el cinema catalán. ’, in C. Domènech, and A. Lema-Hincapié. (eds), Ventura Pons: Una mirada excepcional desde el cine catalán, Madrid and Frankfurt am Main:: Iberoamericana/Vervuert;, pp. 285–304.
     [Google Scholar]
  44. Reyero, C.. ( 2017;), ‘ Barcelona es todas las mujeres: polimorfismo femenino y polisemia patriótica de una alegoría capital (1808–1860). ’, Ayer: Revista de Historia Contemporánea, 106, pp. 47–78.
     [Google Scholar]
  45. Saura, C.. ( 1990), ¡Ay, Carmela!, Spain and Italy:: Iberoamericana Films Internacional, Televisión Española and Ellepi Films;.
     [Google Scholar]
  46. Smith, P. J.. ( 2003), Contemporary Spanish Culture: Television, Fashion, Art and Film, Malden, MA:: Polity Press;.
     [Google Scholar]
  47. Stone, R.. ( 2015;), ‘ The disintegration of Spanish cinema. ’, Bulletin of Spanish Studies, 29, pp. 1–16.
     [Google Scholar]
  48. Türschmann, J.. ( 2009;), ‘ La vida de lo teatral: Actrices/Actrius (1996) de Ventura Pons. ’, in V. Berger, and M. Saumell. (eds), Escenarios compartidos: Cine y teatro en España en el umbral del siglo XXI, Vienna:: Lit-Verlag;, pp. 75–86.
     [Google Scholar]
  49. Zamora, A.. ( 2016), Featuring Post-national Spain: Film Essays, Liverpool:: Liverpool University Press;.
     [Google Scholar]
  50. Zatlin, P.. ( 2007;), ‘ From stage to screen: The adaptations of Ventura Pons. ’, Contemporary Theatre Review, 17:3, pp. 434–45.
     [Google Scholar]
  51. Martínez-Expósito, Alfredo. ( 2022;), ‘ Ventura Pons and Rosa Maria Sardà: Acting, the nation and cinema as totality. ’, Studies in Spanish & Latin American Cinemas, 19:2, pp. 195–210, https://doi.org/10.1386/slac_00082_1
     [Google Scholar]
http://instance.metastore.ingenta.com/content/journals/10.1386/slac_00082_1
Loading
Ventura Pons and Rosa Maria Sardà: Acting, the nation and cinema as totality1
Studies in Spanish & Latin American Cinemas 19, 195 (2022); https://doi.org/10.1386/slac_00082_1
/content/journals/10.1386/slac_00082_1
/content/journals/10.1386/slac_00082_1
Loading

Data & Media loading...

  • Article Type: Article
Keyword(s): allegory; Catalan cinema; Catalonian identity; imagology; nation-building; Spanish cinema

Most Cited Most Cited RSS feed

This is a required field
Please enter a valid email address
Approval was a success
Invalid data
An error occurred
Approval was partially successful, following selected items could not be processed due to error