'Stereotypes Of Femininity In Pepi, Luci'

a role of inferiority to male supremacy. Franquism used Andalusian women as stereotypes of femininity, devoted to Catholicism, and alleged virgins until marriage. In Pepi, Luci, Bom the emphasis on revisiting iconographic characters is also presented when underground and experimental gay artists that share the apartment with Bom and Luci are working on large paintings of typical Andalusian women wearing coloring dresses. With these links between traditional icons and characters of La Movida Almodóvar not only recycles old forms and gives to them new meanings; the reconfiguration of the national identity can include heterogeneity and difference. As Ross suggests, camp can operate to destabilize, redesign, and transfer the existent balance among …show more content…
When Luci, the policeman and the twin brother are sitting on the breakfast table, displaying the sexist male attitude and the submissive female response, the space is surrounded by pop objects, geometric wallpaper, and a cutting edge style, which is not consistent with the stereotyped family they represent. As Jean-Claude Seguin Vergara notes, in Almodóvar’s films kitchens are strategic places, where the director combines pop art and Spanish culture (60). The consumption society’s goods, such as blenders, refrigerators and canned soups are mixed with peppers, Spanish ham and smoking saucepans, confronting modernity and tradition. In Almodóvar’s films kitchens are feminine rooms, places for female bodies, but far from be innocent places, kitchens are body’s extensions, where bodies can be transformed (ibid 60-65). When Luci decides to return to her husband, Pepi invites Bom to her apartment and cooks a traditional Spanish dish. In the kitchen, the most traditional space that represents women’s submission, two liberal and punkie girls exchange caresses and kisses and make evident more complicity and intimacy than in any other sequence of the