INTERMEDIALITY MODELS IN FILM ADAPTIONS OF HOMOSEXUAL DRAMA IN PEDRO ALMODOVAR'S CINEMA/Modelos de intermedialidad en la adaptacion cinematografica del teatro homosexual en el cine de Pedro Almodovar/MODELOS DE INTERMEDIALIDADE NAS ADAPTACOES CINEMATOGRAFICAS DO TEATRO HOMOSSEXUAL NO CINEMA DE PEDRO ALMODOVAR

Pedro Almodovar's cinema is complex and full of intertexts, and theatre is one of its principal resources. The goal of this article is analyze how have been adapted into his filmography the works of playwrights who are considered into the category of Queer Drama, with a new focalization where the man becomes an object of desire. Using film narratology and queer theory, it has been analyzed how plays of Lorca, Feydeau, Tennessee Williams or Jean Cocteau, with a latent or evident queer sensitivity, are used as models for part of his cinema. In conclusion, we can see in all these authors a continuity in the representation of "non-normative" sexualities, which links with the paranoid enunciation stated by Alberto Mira. Thus, it is evidenced how this ruptures with the institutional mode of representation, as defined by Noel Burch and that are visible in the almodovarian filmography, have in the homosexual theatre one of its main hypotexts