Desmontando la identidad: la contrafigura del extranjero en la comedia española de los 80

Abstract

This article discusses how Pedro Almodóvar’s Laberinto de pasiones (1982) and José Luis Cuerda’s Amanece, que no es poco (1989) subvert the allegedly quintesential Spanish identity coined by late-Francoist cinema through the inversion of its stereotypes and particularly of its dialectic confrontation with the foreign(er). In doing so, these comedies from the democratic period pull apart the very notion of identity as something fixed, inherited and inmutable so dear to Franco’s regime.