By Marvin D'Lugo, Kathleen M. Vernon (eds.)
Edited through best experts at the topic, and bringing jointly a stellar forged of members, this designated appraisal of Pedro Almodovar’s particular cinematic paintings examines the topics, kind, and aesthetics of his oeuvre and locates it within the context of the profound cultural alterations in Spain because the 1970s.
- Brings jointly a stellar forged of participants from around the globe together with well-known and verified experts in addition to proficient more youthful students
- Features contributions by way of Spanish movie historians, the place reviews of Almodovar’s paintings were underrepresented within the educational literature
- Deploys new methods to the research of movie authorship via exploring contextual matters corresponding to Almodovar’s transnational allure and the political dimensions of his works
- Traces the director’s fruitful collaborations within the parts of artwork and layout, type and music
Chapter none creation (pages 1–17): Marvin D'Lugo and Kathleen M. Vernon
Chapter 1 Almodovaros Self?Fashioning (pages 19–38): Paul Julian Smith
Chapter 2 artistic Beginnings in Almodovar's Work1 (pages 39–58): Francisco A. Zurian
Chapter three Almodovar and Hitchcock (pages 59–87): Dona Kercher
Chapter four A existence, Imagined and another way (pages 88–104): Alberto Mira
Chapter five El Deseo's “Itinerary“ (pages 105–128): Marina Diaz Lopez
Chapter 6 Almodovar and Spanish styles of movie Reception (pages 129–152): Josetxo Cerdan and Miguel Fernandez Labayen
Chapter 7 reminiscence, Politics, and the Post?Transition in Almodovaros Cinema (pages 153–175): Juan Carlos Ibanez
Chapter eight The Ethics of Oblivion (pages 176–199): Adrian Perez Melgosa
Chapter nine Our Rapists, Ourselves (pages 203–224): Leora Lev
Chapter 10 Paternity and Pathogens (pages 225–243): Dean Allbritton
Chapter eleven Domesticating Violence within the movies of Pedro Almodovar (pages 244–261): Noelia Saenz
Chapter 12 los angeles piel que habito (pages 262–278): Francisco A. Zurian
Chapter thirteen Re?envoicements and Reverberations in Almodovaros Macro?Melodrama (pages 279–303): Marsha Kinder
Chapter 14 The Flower of His mystery (pages 304–321): Celestino Deleyto
Chapter 15 Scratching the prior at the floor of the outside (pages 322–344): Julian Daniel Gutierrez?Albilla
Chapter sixteen Almodovar's Stolen pictures (pages 345–363): Javier Herrera
Chapter 17 ladies at the Verge of a frightened Breakdown (pages 365–386): Isolina Ballesteros
Chapter 18 Almodovar's international Musical industry (pages 387–411): Kathleen M. Vernon
Chapter 19 Almodovar and Latin the USA (pages 412–431): Marvin D'Lugo
Chapter 20 Is There a French Almodovar? (pages 432–452): Jean?Claude Seguin
Chapter 21 Almodovar in Asia (pages 453–467): E. ok. Tan
Chapter 22 To the future health of the writer (pages 469–494): John D. Sanderson
Chapter 23 Making Spain trendy (pages 495–523): Gerard Dapena
Chapter 24 Almodovar, Cyberfandom, and Participatory tradition (pages 524–550): Vicente Rodriguez Ortega
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Additional info for A Companion to Pedro Almodovar
The final area to consider in this survey of how Los abrazos rotos interacted with changing social and cultural conditions is one to which I have already briefly referred: newspapers and internet. Although El Deseo is often acclaimed for its professional marketing and Pedro has long been indefatigable in his promotional activities, it is striking that the press coverage in Spain is decidedly mixed. Almodóvar has openly argued with the Spanish Film Academy (AACCE), which has failed to nominate his features for their prizes as often as he would have liked (Anon.
Perilously poised between high art and vulgar commerce, Almodóvar’s own oeuvre may thus well merit the label of middlebrow. Bearing this tricky position in mind, we can now turn in the remainder of this chapter to examine how Almodóvar’s self-fashioning can be re-read in the various contexts sketched out above at the crucial time of the production and release of Los abrazos rotos, his seventeenth feature. First of all, Los abrazos rotos clearly takes up its place in the late “autobiographical period” identified by the Spanish Wikipedia page, focusing as it does on a middle-aged filmmaker (Mateo Blanco, played by stage veteran Lluís Homar) who serves as a stand in for Almodóvar himself as he approached his sixtieth birthday.
References D’Lugo, M. (2003). ” Contracampo, Universidade Fluminense, Rio de Janeiro, 1st semester, pp. 7–22. Epps. B. (2012). ” In J. Labanyi and T. ), The Companion to Spanish Cinema. Malden, MA: Wiley-Blackwell, pp. 581–596. Foucault, M. (1977). Language, Counter-Memory, Practice. Edited with an Introduction by Donald F. Bouchard. Ithaca, NY: Cornell University Press. Introduction 17 Galt, R. and Schoonover, K. ) (2010). Global Art Cinema: New Theories and Histories. Oxford: Oxford University Press.