The transvestite figure and film noir
Pedro Almodóvar’s transnational imaginary
in Contemporary Spanish cinema and genre
Abstract only
Log-in for full text

You are not authenticated to view the full text of this chapter or article.

manchesterhive requires a subscription or purchase to access the full text of books or journals - to see content that you/your institution should have access to, please log in through your library system or with your personal username and password.

If you are authenticated and think you should have access to this title, please contact your librarian.

Non-subscribers can freely search the site, view abstracts/extracts and download selected front and end matter. 

Institutions can purchase access to individual titles; please contact for pricing options.


If you have an access token for this content, you can redeem this via the link below:

Redeem token

Melodrama has been a narrative and representational form tied to the imagining of the nation. Pedro Almodovar, consistently works within the parameters of melodrama, yet its conventions are always interrupted and subsequently reorganised by elements of comedy, the musical, the thriller and film noir. This chapter focuses on the director's use of noir alongside melodrama. Film noir has from the outset been interested in the in-between, its characters move along the edges of society: they are drifters, private eyes and femme fatales, identities constructed outside the bounds of the nuclear family - the family at the centre of the discursive strategies of the nation and the affective nexus dramatised by the melodramatic mode. The transvestite characters in each of the films provide a figure of embodiment for these transnational articulations informed, in part, by their iconographic status as femme fatales.


All Time Past Year Past 30 Days
Abstract Views 142 51 2
Full Text Views 33 4 0
PDF Downloads 5 1 0