As Spain’s narrative of itself has changed through the late 1990s and the twenty-first century due to its engagement with historical memory and an interrogation of the country’s democratic credentials, analyses of Almodóvar’s cinema have changed to accommodate this. This book explores the evolving way in which the cinema of Pedro Almodóvar is employed to read Spain within the country and abroad. It focuses on how Almodóvar’s cinema engages with the narrative of the nation and the country’s twentieth- and twenty-first-century history through a metamodern (rather than postmodern) aesthetic. Whereas Almodóvar’s cinema does not wear politics on its sleeve, this book argues that, through using postmodern techniques with an ethical intent, a foregrounding of cinematic excess, and the poetic function, it nevertheless addresses Spain’s traumatic past and its legacy in relation to gender, class, and the precarious position of the LGBTQ+ community. The political nature of Almodóvar's work has been obscured by his alignment with the allegedly apolitical Spanish cultural movement known as la movida, but his cinema is in fact a form of social critique disguised as frivolity. The book offers a comprehensive film-by-film analysis of the cinema of the Spanish director Pedro Almodóvar, from early transgressive comedies of the 1980s like Pepi, Luci, Bom y otras chicas del montón and Mujeres al borde de un ataque de nervios to award winning dramas like Todo sobre mi madre, Hable con ella, and Dolor y gloria. In doing so, it shows how Almodóvar's films draw on various national cinemas and film genres.
other than to do whatever was required to prevent a further deterioration in the
country’s financial position. This meant an end to redistribution and the introduction of one of the largest packages of cuts in contemporarySpanishhistory.
The conclusion to be drawn is that the PSOE appeared to be as incapable
as other social democratic parties – or, indeed, any political parties capable of
winning office – of constructing an alternative narrative on economic recovery
The Spanish Socialist Party
which might gain the support of the electorate. When the PSOE
All about Almodóvar, or how to become a Spanish auteur
Ana María Sánchez-Arce
be seen in a Spanish context as a political posture whose effects are as potent as they are uncontrollable. (2014: 2)
What in the early days seemed a stance of radical apoliticism was instead very much political, an attempt to undertake social critique via frivolity in line with other artists of la movida .
Almodóvar’s equivocation about his engagement with contemporarySpanishhistory, and the way his films were used by successive Spanish governments to market an image of democratic Spain as having moved beyond the past, resulted in an early perception of