The 80s marked an era of rupture with the forty years of fascism and the nostalgic embracement of Church-State imperial politics, and a subversion of the highly documented National that underscored the slow release of democracy–a state still not fully achieved in the Peninsula. This week we discussed the contribution of religious institutions, gender unalignment, governmentality, satire, and democracy to the representation of fascism and religiosity in Spanish cinema, as well as the roles these concepts play in a film critique of imperial politics and in the configuration of historical memory in the decade of the 1980s in Spain.
On Tuesday we dwelled in the explosive filmic representation of comic and tragic history as media cultivated by filmmaker Pedro Almodóvar, and we focused on his efforts to disseminate this rupture and subversion at a global level. On Thursday we explored Almodóvar’s loud filmic representation of the religious institution of conventual life in his 1983 satire Entre tinieblas / Dark Habits and how he weaves the convent with its polar opposite world of prostitution and drugs.
For this week’s reflection, choose two concepts (Post-Franco Spain, gender unalignment, documenting the National, satire, governmentality) and write about how you see them woven by Almodóvar in this film.
This blogpost does not have a deadline. Please, make sure you do not let posting accumulate for the day before the notebook and all blogposts are due on April 28.
NOTE: We had melodrama in our learning objectives listed in Canvas; this is a crucial term in the study of Post-Franco cinema. However, we focused on other terms, such as governmentality and gender unalignment, which are as important for the analysis of this decade of Post-Francoism and of this film. We’ll come back to melodrama in two weeks, when we discuss Julio Medem’s Lovers of the Arctic Circle.