Seite - 93 - in JRFM - Journal Religion Film Media, Band 01/01

Cross-media Transmission Processes | 93www.jrfm.eu 2015, 1/1, 89–94 dóvar throws light on the fact that the dominant reading does not automatically have to be the right one, it is just one of many possibilities. In the end, meaning depends on the context a specific motif is shown in. CONClUsiON Approaching the society and the world critically by means of film or art is indeed a technique for framing the world as it is and for reframing it by questioning dominant readings and revealing alternatives. By referring to different realisations of a motif in diverse media, almodóvar demonstrates that the meaning of a particular aesthetic representation strategy depends on the media’s typical qualities and is not fixed, but a result of constant negotiation during a specific transmission process. He thus criti- cally analyses meaning-making processes and simultaneously justifies his concept of a multifaceted motherhood adaptable to everyone: if the qualities like absolute devo- tion, grace or charity are attributed to the ideal mother Mary, consequently, every person who behaves in this way becomes a mother. The references to the aesthetic conventions serve almodóvar by emphasising that identity and authenticity are, like meaning, fluid constructions in a constantly changing setting. Or as La Agrado, the film’s transsexual supporting actress explains, showing her diverse plastic surgery not depends on the context. The more people perceive one’s acting to be authentic, the more the individual believes in its truth. Concerning the relationship between individual identity and authenticity see e.g. Taylor 1991, also Butler 1991. Fig. 2: The forgery of The Madonna of the Village (Marc Chagall, 1938–42) serves as a metaphor for a decontextualised interpretation (Todo sobre mi madre, 00:33:44).