Cultural identity can be defined
as the feeling of belonging to a particular group of people, who self-identify
by reference to a shared set of ideas, values and traditions. For many years,
western societies had embraced a broader concept of identity, promoting a
multi-cultural outlook which seemed to make individual cultural identities less
important. However, at time when, in both Europe and North America, there has
been an increasing backlash by a historically dominant group against what they
see as the dilution of their identity, the concept of “cultural identity” has
never been more topical. A revealing context in which to examine the concept of
cultural identity is modern day Spain. When we think of Spanish culture, images
of white washed walls, bullfighters and flamenco music are instantly evoked,
reflecting both upon our perception of Spain and equally, the way in which
Spain as a country has historically presented itself.
However, to what extent is
cultural identity ingrained into us, as a society? Is it necessarily something
which can be imposed from the outside, or endogenous? I will be examining the question of how deeply ingrained
cultural identity can be through the prism of the films of Pedro Almodóvar, a celebrated
director, famous for challenging the classic images of Spanish culture, which contradict
his own view that identity is something which must be discovered (and perhaps
created) for oneself. As Agrado, a
character from one of his films Todo
Sobre Mi Madre (All About My Mother), says: “you are more authentic, the
more you resemble what you’ve dreamed of being.”
Almodóvar’s liberated
depiction of Spain came as a counterreaction to the oppressive dictatorship of
Francisco Franco, who governed Spain between 1939 and 1978. During this period,
strict ideas of identity were imposed on the people of Spain: a cultural
identity that was Catholic, unitary, nationalistic and patriarchal. Abortion
was illegal, as well as the use of contraception and the practice of
homosexuality. Equally, Franco opposed the notion of distinct cultural
identities for different regions of Spain, as well as banning regional
languages such as Catalan and Basque which themselves articulated a distinct
cultural identities and traditions.
Following Franco’s death, a
counter-cultural movement emerged in Madrid, termed “La Movida Madrileña.” This
movement acted as an artistic reawakening for Spain and was reflected in
contemporary literature, songs and films. The Spaniards experimented with ideas
of gender and sexuality, dressing up in colourful and flamboyant clothes to
celebrate their liberation. This was a new, and perhaps improved, cultural
identity, one which was liberal, inclusive and which celebrated diversity.
The Catholic Church played a
crucial part in forming what Franco regarded as Spanish cultural identity. The
corrupt, monolithic approach of the church, prompted Almodóvar’s film La Mala Educación (Bad Education) in 2004, which centered on the sexual abuse of young
boys in the Catholic Church. The film targets Franco’s idea of religion in two
ways; not only does it highlight the perversion and hypocrisy of the Catholic Church,
it also alludes to the anarchy of religion, as every character loses their
belief in some way. The immense popularity of this film, in what is a
traditionally Catholic country, is an indicator to the changing values of the
population, and the speed with which those values have changed in a generation
after Franco’s death.
Likewise, changing attitudes
to family have been reflected in the films of Pedro Almodóvar, moving from
Franco’s rigid model, involving: a father as head of the household, a mother
and children, to more extended and fluid models of family. The film which best embodies
this theme is Volver (Return), which presents an atypical
vision of the family setting, one lacking a father figure. This family appears
to be even stronger than the quintessential family, highlighting that, although
the significance of family has stayed constant, the format in which it is
presented has modified.
La Movida Madrileña coincided
with the Second-wave of Feminism, the movement which fought for the social
equality of the sexes. The overlap between these groups is demonstrated by the
liberating and empowering depiction of women in Almodóvar’s films. The
representation of women in his films has defined his career, from his directing
debut Pepi, Luci Bom to his most
recent film Julietta. In the Francoist regime, women were regarded
as the ideological placement of culture in society. A woman’s role was to serve
her husband and bear and bring up her children. However, Almodóvar’s films
acknowledge the variety of roles a woman plays, likening them to actresses
capable of playing many parts. In his dedication to Todo Sobre Mi Madre (All About
My Mother) he thanks “all actresses who have played actresses”, “all women
who act”, “all men who act and become women”, “all the people who want to be
mothers”, and, most importantly, “my mother”. Similarly, Almodóvar marks a shift in assigned
gender roles in his film hable con ella
(talk to her). The character Lydia
appears to be a combination of both the masculine and the feminine; she is a
renowned bullfighter, traditionally a male dominated occupation and a Spanish
cultural archetype, yet she still emanates feminine power. The classically
Spanish profession suggests that cultural authenticity and evolution are not in
opposition; together they can form a new, adaptable and powerful Spain.
This
description of Almodóvar’s deconstruction of nearly 40 years of a centrally
imposed cultural identity and the readiness with which post-Franco Spain has
accepted Almodóvar’s recasting of this would support the view that cultural
identity is not deeply ingrained, but at best a veneer which can change rapidly
as social and political circumstances evolve. Despite Franco’s reign over Spain
for 39 years, Almodóvar’s depiction of Spain and its customs show the ease at
which a series of pre-existing ideas can be changed, highlighting the fluidity
of cultural identity. Therefore, although a few fundamental ideas may remain
constant, cultural identity is not something which can be ingrained
particularly deeply into a country; it is continually evolving to correspond to
the demands of society.
However,
alongside the rapidity of cultural change in the post-Franco era, it must be
acknowledged that a set of more traditional cultural identities, suppressed
under Franco, have also revived since 1978, challenging Almodóvar’s rival
vision of a modern Spanish cultural identity. Do the alternative cultural
visions of Catalan and Basque film makers show that cultural identities are so
deeply ingrained that they can revive after half a millennium’s suppression? Or
are these newly assumed cultural identities, which may be replaced as quickly
as they have arisen? These are issues for future generations of film makers to
explore.
