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

ISBN-10: 1118325362

ISBN-13: 9781118325360

ISBN-10: 1405195827

ISBN-13: 9781405195829

Edited by way of best experts at the topic, and bringing jointly a stellar forged of members, this certain appraisal of Pedro Almodovar’s precise 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 solid of participants from around the globe  together with famous and tested experts in addition to proficient more youthful students
  • Features contributions by means of Spanish movie historians, the place reports of Almodovar’s paintings were underrepresented within the educational literature
  • Deploys new methods to the research of movie authorship by means of exploring contextual matters equivalent to Almodovar’s transnational attraction and the political dimensions of his works
  • Traces the director’s fruitful collaborations within the parts of paintings and layout, style and music

Content:
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 in a different 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 motion pictures 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 surface (pages 322–344): Julian Daniel Gutierrez?Albilla
Chapter sixteen Almodovar's Stolen photographs (pages 345–363): Javier Herrera
Chapter 17 girls at the Verge of a frightened Breakdown (pages 365–386): Isolina Ballesteros
Chapter 18 Almodovar's worldwide Musical industry (pages 387–411): Kathleen M. Vernon
Chapter 19 Almodovar and Latin the United States (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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Additional resources for A Companion to Pedro Almodovar

Example text

Evans, C. (2010). ” Screen International (February 5): 40–42. Farouky, J. (2005). ” Time (October 10): n. p. html (Accessed June 12, 2010). Fernández Santos, E. (2008). ” El País ( June 8): 40–41. Gant, C. (2009). ” Sight & Sound ( June 9): 9–11. Gubbins, M. (2008). ” Screen International (August 22): 3. James, N. (2008). ” Sight & Sound (October 16–26): 16–26. Kinder, M. (2010). 3 (Spring): 28–33. Lindo, E. (2008). ” El País Semanal (September 21): 34–44. Marano, H. (2003). ” Psychology Today ( June 20).

Unfortunately the Spanish audience has “turned its back on [the small budget] home production” which comprises the great majority of local feature films (Triana-Toribio 2007: 161). Triana-Toribio’s media-savvy directors are, she says, “middle brow”; and the elastic nature of El Deseo’s definition of “quality” (which extends even to genre films which push the envelope of conventional expectations) also seems to conform to Bourdieu’s understanding of the middle brow as that which offers insecure audiences a shortcut to cultural capital which must elsewhere be laboriously acquired.

The sole illustration used for this article is a photograph of Almodóvar looking through a viewfinder, citing his “promotion of the Spanish audiovisual sector abroad” as exemplary of this trend in cultural exports. But in spite of such Spanish praise of Almodóvar as a key exporter, the international film sector was beset by many and varied challenges which clearly affected Spain and El Deseo. For example the editor of Screen International (SI), the trade journal for the European film business, wrote that arthouse cinema was facing an “ageing problem” (Gubbins 2008).

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


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