New Mythological Figures in Spanish Cinema: Dissident Bodies under Franco (Film Culture in Transition)

After General Francisco Franco died in 1975, Spanish cinema was bursting at the seams. Many film directors broke free from the ancient taboos which had reigned under Franco’s dictatorship, introducing characters who transgressed the traditional borders of social, cultural, and sexual identities. The women, homosexuals, transsexuals, and delinquents who were considered lost, dissonant bodies under Franco’s rule became the new protagonists of Spanish cinema. “Here is a ‘book of passion’ on the metamorphoses of post-Francoist Spain as it catapulted into the contemporary world (1975–95). It is a book that questions the power of myths expressed through passionate bodies, in particular bodies who for too long were marginalized in traditional societies.” —Michèle Lagny, Université de Sorbonne Nouvelle Paris III In the 1970s, especially after Franco's death in 1975, Spanish cinema was bursting at the seams. Numerous film directors broke free from the ancient taboos which had reigned under the dictatorship. They introduced characters who, through their bodies, transgress the traditional borders of social, cultural and sexual identities. Post- Franco cinema exhibits women, homosexuals, transsexuals, and delinquents in new and challenging ways. Under Franco rule, all of these dissident bodies were 'lost'. Here, they reflect new mythological figures, inhabiting an idealised body form (a prototypical body) In the 1970s, especially after Franco's death in 1975, Spanish cinema was bursting at the seams. Numerous film directors broke free from the ancient taboos which had reigned under the dictatorship. The best known of these, Pedro Almodovar, introduces characters who, through their bodies, transgress the traditional borders of social, cultural and se From Prohibition To Clear Exhibition : How To Read Into These Film-images? -- The Liberation Of Women -- The Homosexual Body On Stage -- The Delinquent's Body Out Of Focus. Pietsie Feenstra. Includes Bibliographical References (p. [307]-320) And Index.

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