New Mythological Figures in Spanish Cinema: Dissident Bodies by Pietsie Feenstra

By Pietsie Feenstra

After common Francisco Franco died in 1975, Spanish cinema was once bursting on the seams. Many movie administrators broke loose from the traditional taboos which had reigned lower than Franco’s dictatorship, introducing characters who transgressed the conventional borders of social, cultural, and sexual identities. the ladies, homosexuals, transsexuals, and delinquents who have been thought of misplaced, dissonant our bodies less than Franco’s rule grew to become the recent protagonists of Spanish cinema. “Here is a ‘book of ardour’ at the metamorphoses of post-Francoist Spain because it catapulted into the modern international (1975–95). it's a publication that questions the ability of myths expressed via passionate our bodies, particularly our bodies who for too lengthy have been marginalized in conventional societies.” —Michèle Lagny, Université de Sorbonne Nouvelle Paris III

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The incestuous mother abuses her son Angel for many years. When Angel is about to get married she is so jealous that she kills his fiancée. This obviously does not correspond to an ideal of Francoism. However, Spanish filmmakers were extremely creative in creating allegorical images, avoiding censorship and transmitting their ideas. Discovering the body In reaction to this Francoist ideology, there was a wish to show the sexual body outside the traditional structures of the family, which was illustrated in two streams that began in late Francoism: the destape (the uncovering); and the tercera via (the Third Way).

For Alfeo Alvarez, there was a change after this film.  The period from - represents the fourth stage, with homosexual characters being integrated into the plot in the same way as heterosexuals. The fiction Sex Change did not sell many tickets, but is an important film that treats in a direct way, visually, the issues of changing gender and homophobia. Furthermore, it was released shortly after .  In summary, during the Transition, the theme of homosexuality in Spanish cinema interested almost a million spectators.

This last category refers to a cult film that testifies to a culture through the interaction between it and its audience. Certain points deserve to be explained further. First, a cult film is supposed to be ritualised outside the direct connection between the textual contexts of the transmission in cinema or on television; the audience is “implied” in this process, in the mutation of a film into a cultobject.  This implies that a film can become a cult-symbol if these elements are ritualised regularly under different forms referring to the original character: for example, by dancing, music, haircut; a tendency to make a star of the actors; the imitation of certain forms of behaviour in everyday life, or for example the flexibility of John Travolta’s knees, Madonna’s haircut, the dancing of Elvis Presley or Michael Jack- From prohibition to clear exhibition 49 son.

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