A Companion to Pedro Almodovar by Marvin D'Lugo, Kathleen M. Vernon (eds.) PDF

By Marvin D'Lugo, Kathleen M. Vernon (eds.)

ISBN-10: 1118325362

ISBN-13: 9781118325360

ISBN-10: 1405195827

ISBN-13: 9781405195829

Edited by means of major gurus at the topic, and bringing jointly a stellar forged of members, this certain appraisal of Pedro Almodovar’s precise cinematic paintings examines the topics, variety, and aesthetics of his oeuvre and locates it within the context of the profound cultural adjustments in Spain because the 1970s.

  • Brings jointly a stellar solid of members from around the globe  together with well-known and verified experts in addition to gifted more youthful students
  • Features contributions via Spanish movie historians, the place experiences of Almodovar’s paintings were underrepresented within the educational literature
  • Deploys new methods to the research of movie authorship by way of exploring contextual concerns equivalent to Almodovar’s transnational allure and the political dimensions of his works
  • Traces the director’s fruitful collaborations within the components 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 lifestyles, Imagined and differently (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 earlier at the floor of the surface (pages 322–344): Julian Daniel Gutierrez?Albilla
Chapter sixteen Almodovar's Stolen pictures (pages 345–363): Javier Herrera
Chapter 17 girls at the Verge of a worried 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 US (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. okay. Tan
Chapter 22 To the health and wellbeing of the writer (pages 469–494): John D. Sanderson
Chapter 23 Making Spain stylish (pages 495–523): Gerard Dapena
Chapter 24 Almodovar, Cyberfandom, and Participatory tradition (pages 524–550): Vicente Rodriguez Ortega

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Example text

As recently as 2007 an austere art movie like La soledad/Solitary Fragments ( Jaime Rosales) could triumph over expert but populist genre fare such as El orfanato/The Orphanage ( J. A. Bayona). It was significant that SI’s territory guide to Spain for the same year, which claimed that “Spanish films are experiencing an upturn in popularity” included a survey of distribution and box office entitled “Giving the audience what they want” (Evans 2010: 40). Significantly, this apparent shift in taste also affects the distribution of Spanish films abroad.

Almodóvar stresses in Los abrazos rotos the continued sexual desirability of a mature protagonist (the film begins with Mateo somewhat implausibly picking up an attractive young woman on the street). But he also suggests the same indifference to sexual orientation that is characteristic of his own media projection. Displacing queer interest onto the minor character of Martel’s son (also sexually obsessed with Mateo), Almodóvar blurs that conflict over his own sexuality that has been played out in press coverage in different countries and languages.

Yet they are somehow enlisted into his ongoing creative and commercial project. The line between the artistic and the industrial is thus difficult indeed to draw. That line is of course complicated by Almodóvar’s own continuing self-commentary, which follows a double movement of revelation and concealment. D’Lugo has noted that “through the evolution of a style and a conception of filmmaking, he has moved to a critique of his own past and the culture out of which his cinema has taken shape” (D’Lugo 2006: 129).

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A Companion to Pedro Almodovar by Marvin D'Lugo, Kathleen M. Vernon (eds.)

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