Abstract
Marting examines the interior monologue of Luis Alberto Molina regarding the Hollywood movie The Enchanted Cottage, directed by John Cromwell in 1945, in the novel by Manuel Puig, El beso de la mujer arana (Kiss of the Spider Woman). This neglected movie-story marks the point of greatest distance between Luis Alberto Molina and his cellmate Valentin Arregui Paz, as well as several important points of transition in the Molina character. Using Linda Hutcheon’s concept of parody as “ironic transcontextualization,” Marting finds that Molina’s version parodies the movie by making it conform to his state of mind and situation. Molina’s parody of traditional concepts of gender identity and sexuality is postmodern because the verbal imitation affirms heteronormative dominance while simultaneously undercutting it.
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