THE GROTESCO EMPIRE IN FELLINI AND ALMODÓVAR: THE DESCONSTRUCTION OF SOCIAL STIGMAS AND STEREOTYPES IN THE MEDIA
Media; cinema; grotesque; social stigmas; aesthetics.
The figure of the clown, the life experiences and the threats of death are in the circus perspective of the universe of Federico Fellini, who celebrates the madness, the obscene and the misshapen. Pedro Almodóvar abolished the right and wrong dichotomies, the good and the evil to invite the viewer to aberration, solitude, marginality. Although there are numerous differences in the way they make movies, it is possible to approach the directors when we realize that both create labyrinthic patterns for transgressive characters using an aesthetic that causes estrangement. Understanding that the seventh art is a device of media culture which creates different discursive strategies regarding forms and representation, this research seeks to analyze the effects of meaning that the grotesque produces in the representations of stigmatized bodies in order to discuss the Aesthetic way as the filmmakers articulate the narrative, the symbolic marks and the stereotypes. In order to fulfill our objectives, we will start with the method of approach suggested by Vanoye and Goliot-Lété (1994) to analyze the films 8 and a half (1963) and All About My Mother (1999) and establish dialogic relations between the works analyzed and the Other productions of the filmmakers. The main theoretical contribution of our study includes Goffman's notions of stigma, Soares's (2009) notions regarding social stigmas, grotesque categorizations by Sodré and Paiva (2002) and Cinema theories by Edgar Morin (2014) and Christian Metz (1980).