discourse. Homo-social relations strive towards an appropriate masculinity, suggesting that rigid classifications of straight women and men, lesbians, and gay men, are cultural classifications organized to facilitate exclusion, oppression, humiliation and powerlessness of any category that functions out of the strict male- female structure. Rather than suppress bounds with women, homo-social relations operate to display domination over them, through public institutions of romance and courtship and the display of rigorous, penile male power (ibid). By contrast, hetero-social identification opens the possibility to denaturalize gender differences. In Pepi, Luci, Bom we can see this idea in the dialogue between Luci and Bom. When the masochistic
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The law is parodied to celebrate the Spanish society living radical changes based on their freedom, and the authority represented by the male figure, is parodied to deconstruct its supremacy and dominance within the Spanish social discourse. In Pepi, Luci, Bom the authority and the law represented by the policeman are not relevant. Luci’s husband is listed in the credits only as “El policia” (the policeman) without any name. For Almodóvar, the policeman does not need to display his life’s story; he is a utilitarian instrument that helps to create the story of the three girls (Cromb 16). In the first scene of the film, the force of law threatens Pepi (because her marijuana plants), but far from being frightened by authoritarian credentials, she offers oral sex to avoid arrest, suggesting that she does not recognize the authority of “the law.” Both civil and patriarchal laws the policeman represents have been exposed as dead words (ibid). The relationship between power-law and power-male-dominance represented by the policeman is useful for Almodóvar’s political intentions. Through this character, the director can associate both the stereotypical Spanish male and the authoritarian figure of the dictator. We can see this association when the policeman goes to the nightclub and forces Luci to came back to their home, “Tonight you’ll pay for everything
The law is parodied to celebrate the Spanish society living radical changes based on their freedom, and the authority represented by the male figure, is parodied to deconstruct its supremacy and dominance within the Spanish social discourse. In Pepi, Luci, Bom the authority and the law represented by the policeman are not relevant. Luci’s husband is listed in the credits only as “El policia” (the policeman) without any name. For Almodóvar, the policeman does not need to display his life’s story; he is a utilitarian instrument that helps to create the story of the three girls (Cromb 16). In the first scene of the film, the force of law threatens Pepi (because her marijuana plants), but far from being frightened by authoritarian credentials, she offers oral sex to avoid arrest, suggesting that she does not recognize the authority of “the law.” Both civil and patriarchal laws the policeman represents have been exposed as dead words (ibid). The relationship between power-law and power-male-dominance represented by the policeman is useful for Almodóvar’s political intentions. Through this character, the director can associate both the stereotypical Spanish male and the authoritarian figure of the dictator. We can see this association when the policeman goes to the nightclub and forces Luci to came back to their home, “Tonight you’ll pay for everything