The astracán (Spanish theatrical parody) and the grotesque in Pedro Almododar’s comedy
DOI:
https://doi.org/10.24310/Fotocinema.2023.vi26.15517Keywords:
Almodóvar Pedro, comedy films, astracán, grotesque, postmodernityAbstract
This work analyzes the presence of the astracán and the grotesque in Pedro Almodóvar's cinema, specifically, not only in those films classified as comedies —Pepi, Luci, Bom and other girls like Mom (1980), Women on the verge of a nervous breakdown (1988) and I’m so excited! (2013)—, but also in those comical situations that the author introduces in the most melodramatic plots when he inserts eccentric characters or ludicrous dialogues. It is a question, then, of verifying to what extent the Almodovarian aesthetic, which is situated in a specific current (postmodern cinema), has its origin in aesthetic forms of the Spanish literary tradition and allows him to develop models of artistic expression which are cut off from reality and in which he identifies cinema with representation to thus reinforce the pact of fiction with the viewer.
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