Manuel Puig's Novel Kiss of the Spider Woman

The need can also be identified with the prison genre, gay hit genre, the tuneful genre, and the political drama genre. The scenes of the Spider Woman singing in the cabaret refer back to the German pics of Marlene Dietrich, though the age evoked is later, much likely the early 1940s than the late 1920s and early 1930s.

The way these genres mix and interact leaves however echoes of each genre, for the film does not fulfill the expectations raised in the consumeer by these different genres. The film alludes to a flesh of film musicals and has a film-within-a-film structure, with the internal film referencing the genre of the film musical. However, it does so in a way that undercuts any memories the viewer might have of musical comedy, for these sequences are exotic and salient rather than humorous. A semiotic analysis of the internal film reminds the analyst of Hollywood productions with Maria Montez or some different exotic star, with the stigmatiseting being not the real Latin America but an echo of the way Hollywood presents Latin America and Latin American music. It is also evident that this film connects to texts from the theater, for as a film, this one tends toward theatrical conversation and motility as much as filmic image.

Most of Puig's novel is presented as a dialogue between the both men, and they reveal themselves in their own words. The rightful(a) nature of their being cell equal

The reader is thus eternally urged to reconsider all impressions gathered of the twain men and their relationship. The two men do the same thing from time to time, though it is not always clear to the reader in the clenched fist half of the book what the relationship really is and from what dit of view each man is approaching that relationship. Molina tells the story of movie afterwards movie to pass the time. The movies are all older films and draw that there is a generational opening move between the two men, and in addition there is a social gap that means that Molina would know some films that Valent?n would be slight likely to have experienced in his social milieu. Yet, Valent?

n becomes very enamored of the game of telling the movies, for it passes the time on the one hand and involves him with another world on the other.

is revealed in the middle of the novel. Until that point, the reader checks the two men as just what they say they are--two men imprisoned for quite different crimes and merely happening to be in the same cell and hard to make the best of it. In Chapter 8, the reader learns that this is not true and that Molina was deliberately planted in the cell to gather information. Molina is indeed a prisoner, but he is trying to win his exculpate by finding out what he can about the terrorist group from which Valent?n has come. The reader is forced at this point to reconsider everything that Molina has said, in essence to reconsider those words to see if they have had a double meaning or if more of Molina is revealed in these words than one might have ben adapted to see on first reading. Soon we learn that Molina has revealed postcode that he has learned to the authorities, presumably because of the relationship he is creating with Valent?n. This whitethorn necessitate another consideration of everything that has gone before, again in light of this new information.

The two men are set up as different types, not just as revolutionary and homosexual, but as audience a
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