Strategie kamp jako reprezentacje hiszpańskich tradycji kulturowych w filmach Pedra Almodóvara

Abstract

The films of Pedro Almodóvar are characterized by their spectacularness and splendor. Their essential components are attractiveness, prestige, charm, glamour. Almodóvar uses in his work a rich tradition of Spanish culture, with specific aesthetics, which can be compared to categories of glamour and camp. This phrases refers both to the aesthetic category of beauty and to the beauty, and its representations are found mainly in the mass culture, fashion, photography and interior design. Constituent features of glamour are associated with its multi-functionality that leads to impracticality, excessive ornamentation, sensuality and eroticism. Such representations are very characteristic for Pedro Almodóvar's cinema. However, the creative strategies of the director are original and do not rely solely on patterns or superficial inspirations. Almodóvar uses his glamour aesthetics in his own version of camp to determine the condition of contemporary Spanish society and Iberian culture through a variety of strategies. At the same time, the treatments of the rich Spanish cultural traditions used by the director, recovers her forgotten patterns in the modern world, restoring their meaning and codes. They show how it is possible to transform traditional themes, motifs and patterns into stories that are important from today's perspective. Pedro Almodóvar invokes a variety of patterns from traditional Spanish culture to show how their former meaning is changed and redefined by modern society. He takes the difficult task of facing the rich tradition of religious Spanish Catholicism (represented by mystics, saints, monks, baroque cathedrals and altars, statues of Virgin Mary, processions and fiestas); bullfighting; national dances and songs; the patriarchate's established social norms (machismo); cult of football as a national sport. Using new codes to read traditional patterns, Almodóvar builds his own strategy by introducing personal emotional engagement and homosexual preferences into his works. Therefore, the campaign strategies implemented in Almodóvar's cinema appeal primarily to the consciousness of the audience, because the cinema of Almodóvar’s is both a spectacle and its own auto-parody. This is particularly evident in the Almodóvar’s parodies of television shows. The effect of a dazzling spectacle is also gained by referring to the style of Hollywood melodramas, especially in the 1950s. It is therefore possible to conclude that the reference to the rich cultural heritage and its revelation in the "rejuvenated" form becomes an element of the Almodóvar’s diagnosis of how important is the former for the present. At the same time, the cinema of Pedro Almodóvar demonstrates the possibility of remitologization and transformation of the old codes and representation in the new, and shows the role of tradition for the creation of a new, postmodern society