Queering Gender: The New Femme Fatale in Almodóvar’s La mala educación (2004)
It is difficult to define film genres in the post-modern cinema, as they are strongly influenced by the conventions of classic genres. Within this context the emergence of transgressive or “dissident” identities have populated such genres and particularly the creation of a modern femme fatale has be...
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| Tipo de recurso: | artículo |
| Fecha de publicación: | 2004 |
| País: | España |
| Institución: | Universidad Nacional de Educación a Distancia |
| Repositorio: | e-spacio. Repositorio Institucional de la UNED |
| Idioma: | inglés |
| OAI Identifier: | oai:e-spacio.uned.es:20.500.14468/25465 |
| Acceso en línea: | https://hdl.handle.net/20.500.14468/25465 |
| Access Level: | acceso abierto |
| Palabra clave: | 55 Historia::5505 Ciencias auxiliares de la historia::5505.10 Filología Queer gender femme fatale cinema Bad Education Almodóvar género cine |
| Sumario: | It is difficult to define film genres in the post-modern cinema, as they are strongly influenced by the conventions of classic genres. Within this context the emergence of transgressive or “dissident” identities have populated such genres and particularly the creation of a modern femme fatale has become a popular and polemical character in contemporary fiction. This new transgressive identity deviates from its counterpart in classical cinema-film noir. Pedro Almodóvar’s La mala educación (2004) reveals that the modern femme fatale has become at the turn of the twenty-first century an integral part of the queer community, thus proposing a new filmic platform of queering gender for the vindication of the rights of the (“other”) stigmatized identities. |
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