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Almodóvar’s, Amenábar’s and de la Iglesia’s generic routes in the US market
Vicente Rodriguez Ortega

García Bernal, has been added to the Almodovarian universe. In this respect, the Spanish trailer of La mala educación is radically different in as much as it is significantly longer, it includes several bits of dialogue, it explicitly foregrounds the metacinematic dimension of the film and it emphasises the central themes of homosexuality and transvestism and their relationship with the repressive role

in Contemporary Spanish cinema and genre
Elizabeth Ezra

the cross turns into a female seductress), while the transformation of women into men reassuringly reverses this scenario, though more often through transvestism than through substitution splicing: Méliès’s films abound in women dressed as male sailors, courtiers, pages, etc. It is worth noting that the men who turn into women are almost invariably transformed back into men, whereas the cross-dressing women rarely shed their

in Georges Méliès
Sue Harris

confrontation of’taboo subjects’ (sexual promiscuity, homosexuality, transvestism and adolescent sexuality to name but the most striking), his enthusiasm for verbal and pictorial vulgarity, and the mise-en-scène of liberated sexuality. This tendency is not peculiar to Blier. Indeed, the oppositional comic attacks and biting satire of contemporary mores which we find in his films can be fundamentally located within an established

in Bertrand Blier
From Le Thé au harem d’Archimède to Cheb
Carrie Tarr

instead appeals to the audience’s fascination with sexual ambiguity (like other French films of the 1980s such as Bertrand Blier’s 1986 film Tenue de soirée ). Miss Mona blatantly problematises issues of sexual identity and spectacle, and the spectacle that is foregrounded is that of male transvestism, announced by the film’s garish poster showing Jean Carmet in drag. (It was Jean Carmet who played the infamous racist in Yves Boisset’s Dupont Lajoie in 1974

in Reframing difference
Barry Jordan and Rikki Morgan-Tamosunas

cultural radicalism in the 1980s came from Madrid’s Movida movement which, among its leading figures, produced Spanish cinema’s enfant terrible Pedro Almodóvar. The protagonists of the Movida seemed to espouse a radical apoliticism and practised a kind of ‘cultural transvestism’, trying on and casting off the range of different identities which suddenly became possible after the end of the

in Contemporary Spanish cinema
Abstract only
Stephanie Dennison and Lisa Shaw

, ends up in bed with Oscarito’s character, mistaking him for his wife, and unwittingly tries to seduce him under the covers, while in Pistoleiro bossa nova , Grande Otelo’s new comic sidekick, Ankito, ends up sitting in the black character’s lap on a train journey. Such passing hints at a homo-erotic subtext conspire with the commonplace motif of transvestism in the chanchada , itself a mainstay of popular humour in the

in Popular cinema in Brazil, 1930–2001
Susan Hayward

inscribed into just so many cultural practices that surround us daily. Indeed, it is worth recalling that Hollywood is obsessed with selling gender difference and heterosexuality. The question becomes, where in gender ideology does one situate cross-dressing, transvestism, trans-sexualism, homosexuality? The answer is, one does not. These sexualities that do not fit get erased as difference and defined in terms of otherness – or as

in Luc Besson
Abstract only
Sexualities on the move?
Andrew Asibong

conventionally feminine roles and attributes. Paul becomes a whore for a night (in contrast to Rose herself, who remains tightly in control of her body), while the dress foisted upon Luc by the Spanish girl forces him into a comically striking transvestism. What is crucial about both these enforced feminisations, though, is their ephemeral nature. The summer dress, in particular, works in the film as a strikingly visual symbol of provisional

in François Ozon
Martin O’Shaughnessy

a critical distance when they watch a group of German soldiers parade to music and the seductiveness of the spectacle, especially the sound of marching feet, is brought home to them. They fail to learn the lesson and their own very different spectacle of music-hall songs and comic transvestism is drawn into the struggle in a way that will again emphasise the power of nationalist spectacle. Preparation for their show is

in Jean Renoir
Barry Jordan

character achieved a degree of agency, power or dominance in the film narrative, she was likely to come to a bad end and pay for her curiosity (i.e. sexual desire) with her life (1984: 85). 18 Moreover, the female spectator was denied a gaze of her own and on the whole had no active women characters to identify with. This being so, short of abandoning mainstream cinema, her only recourse was transvestism, i.e. she was obliged to

in Alejandro Amenábar