Traced limits : marginality in Almodóvar’s Madrid

Abstract

This article aims to put into perspective the audiovisual production of the early career of film director Pedro Almodóvar, based on the contributions of Erving Goffman, Horward Becker and Norbert Elias for the sociology of deviance, enriched and updated by the reflections of Kenji Yoshino. The “aesthetics of bad taste” of his early films register his long engagement in the countercultural embodied dynamics of ‘70s Madrid and the imaginary of that period, and can not be divorced from the struggle for democratic freedom post-Franco. To think Almodóvar’s cinematography from the standpoint of Sociology of Deviance is to reflect on the politics of visibility of minority cultural identities on screen and in urban space.