Comedy and grotesque as a reflection of social, cultural and political imaginaries in spanish film production after the democratic establishment (1982-1996).

The project "comedy and esperpento as a reflection of the social, cultural and political imaginaries in the spanish film production after the democratic establishment (1982-1996)" is proposed as an analysis of the discourse generated by the humorous films of spanish cinema of this period from a social, political and cultural perspective. it is, therefore, about studying the extent to which spanish cinema is the result of a particular society, with its political, social and cultural characteristics, very precise in that historical period; and, dialectically, to what extent spanish cinema has been able to disseminate certain values ??or lifestyles in the changing society of that period.

As we have commented, the general objective of this investigation is to elucidate the reflexes that, of the spanish society, can be identified in the cinematographic production corresponding to the first two socialist governments of the democratic era. for this we have selected a genre specially cultivated between 1982 and 1996: comedy. we intend to demonstrate the consistency of this genre as a catalyst of messages and ideology as well as trying to analyze whether it works as a mirror (distorted or not) of the reality that sees it being born.

Article isi wos or scopus, book chapter, linking an undergraduate student, lecture at an international congress. unlike other projects that aim to unravel social imaginaries through cinematographic art, in this research we will do it from a very specific path: the genre of comedy, a type of cinema that is usually underestimated in terms of to its critical or ideological possibilities; but which is more effective than others because of its eminently popular nature. the fact that in this research we stick to an accurate spatial-temporal arch (spain, 1982-1996) can help us to use the analysis procedures and results obtained from other closer realities, such as the colombian post-conflict and its reflection in its cinematography .