Conchita Montenegro in Hollywood:

Bou, Núria

doi:10.2307/j.ctvh9w20g.16

Cited by 1 publication

(1 citation statement)

References 0 publications

Supporting

Mentioning

Contrasting

Order By: Relevance

“…One could say that Montenegro was deliberately playing her roles in Hollywood so she would not be identified as Spanish. It was unusual for the actors in multilingual films to copy the most iconic gestures of the stars in the English-language original, but Conchita Montenegro literally mimed the American actresses, even their most less perceptible gestures, as if she were trying to offer a carbon copy of the performance of the actress who starred in the original version (Bou, 2019). It is therefore unsurprising that the Spanish press would stop writing about her: praising her actions would have been tantamount to accepting 'the Yankee invasion' and consequently giving up on the possibility of creating a Spanish film industry.…”

Section: 'I Don't Want To Be Spanish'mentioning

confidence: 99%

Conchita Montenegro and the Spanish press: from national pride to nationalist melodrama

Bou

Pérez

2021

Celebrity Studies

Self Cite

View full text Add to dashboard Cite

The Spanish press reported on Conchita Montenegro, a Spanish actress who moved to Hollywood in the early 1930s, with ambiguous and contradictory messages. On the one hand, her stint in Tinseltown was celebrated as a national triumph: a young Spanish woman had managed to seduce and conquer the Hollywood film industry. On the other hand, the fact that in Hollywood she played female archetypes at odds with the conservative morality of Catholic Spain was silenced. Decades later, after her death, the Spanish press has restored Conchita Montenegro's fame, this time through a sensationalist, melodramatic story similar to the way Hollywood stars are promoted. Based on a comparative study between journalistic sources from both periods, this article demonstrates that the way Montenegro was treated as a film star in the press reflects the same nationalist fervour, even though the focus of her patriotic exemplariness in the 1930s gave way to a melodramatic vision of her Hollywood career more recently.

show abstract

Section: 'I Don't Want To Be Spanish'mentioning

confidence: 99%