Seminar paper from the year 2004 in the subject Romance Languages - Spanish Studies, grade: 1,3 (A), Kingston University London (Spanish Institute), course: Spanish Cinema, language: English, abstract: Introduction



Almodovars first three films Pepi, Luci, Bom y otras chicas del montón (1980), Laberinto de Pasiones (1982) and Entre Tinieblas (1983) can be seen as a breaking of all the taboos that were forbidden under Francos regime: there is drug use, "abnormal" sexuality, crude language, adultery, religious blasphemy. The films clearly mirror the new freedoms enjoyed by a generation of film-makers belonging to Spains la movida movement of the late 1970s and early 1980s.

Born in 1951, Almodovar mainly grew up in the rural Extremadura, but left for Madrid at the age of sixteen. He originally wanted to attend the national film school, but due to the closure of the school by the Dictator Francos repressive government he was unable to go. He instead took a job at a telephone company to make the money to buy himself a Super-8 camera. Almodovar began filming short films in the early 1970s, and quickly became associated with la movida.

This essay will be evaluating Almodovars role as a post-modern director, including a brief demonstration of the development of the post-modern culture after Francos death. The essay is especially interested in the juxtaposition of homo- and heterosexuality in Almodovars films and will evaluate the different ways in which Almodovar presents homosexuality. It will also have a close look at the mediums Almodovar uses to make his audience take his absurd film worlds for granted, and accept the happenings and characters as normal.