By Marvin D'Lugo, Kathleen M. Vernon (eds.)
Edited via top experts at the topic, and bringing jointly a stellar forged of participants, this special appraisal of Pedro Almodovar’s exact cinematic paintings examines the subjects, sort, and aesthetics of his oeuvre and locates it within the context of the profound cultural differences in Spain because the 1970s.
- Brings jointly a stellar forged of members from around the globe together with famous and proven experts in addition to proficient more youthful students
- Features contributions via Spanish movie historians, the place reviews of Almodovar’s paintings were underrepresented within the educational literature
- Deploys new techniques to the research of movie authorship through exploring contextual concerns reminiscent of Almodovar’s transnational attraction and the political dimensions of his works
- Traces the director’s fruitful collaborations within the parts of paintings and layout, model and music
Chapter none advent (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 l. a. 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 photos (pages 345–363): Javier Herrera
Chapter 17 ladies at the Verge of a apprehensive Breakdown (pages 365–386): Isolina Ballesteros
Chapter 18 Almodovar's worldwide Musical market (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 overall healthiness 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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Extra resources for A Companion to Pedro Almodovar
Patterson, H. (2008). ” Sight & Sound (April): 30–33. ” (2009). Vanity Fair [Spain] (April). html (Accessed June 12, 2010). Scott, A. O. (2009). “Review of Broken Embrace,” New York Times (November 20): n. p. html (Accessed June 12, 2010). Smith, P. J. (2009a). ” Sight & Sound ( June): 18–20. Smith, P. J. (2009b). ” Screen 50: 439–449. 38 Paul Julian Smith Smith, P. J. (2009c). City Girls I: Almodóvar’s Women on Film and Television. In Spanish Screen Fiction: Between Cinema and Television. Liverpool: Liverpool University Press, pp.
Yet, like the malign magnate at the heart of his film, whose lover is seduced away from him even as he funds her career, Almodóvar and his devoted co-workers prove unable to control the outcome of their proliferating media strategies. More particularly in the age of the internet, amateur “detractors,” previously excluded from the mainstream media, now possess a powerful echo chamber for any negative views they may come across. Triana-Toribio writes of her “mediáticos” that they “reconcile the paradoxes surrounding authorship in Spanish cinema [by] foster[ing] the cult of personality on which traditional auteurism rests while at the same time making this individuality accessible to the wider public” (2008, 276).
Both de la Iglesia and Coixet have had features produced by El Deseo. And Triana-Toribio had earlier dedicated a study to the Almodóvar brothers’ production company, a Spanish pioneer in promotion and marketing (2007). In this piece she treats a question that is also found in the specialist trade press: transnationalism. And she seeks to link the increasing academic interest in the topic with the industrial changes recounted by the trade press. She reminds us, however, that El Deseo “boasts a world-wide projection already well established long before we started to hear the word ‘transnational’ in film studies” (Triana-Toribio 2007: 156).
A Companion to Pedro Almodovar by Marvin D'Lugo, Kathleen M. Vernon (eds.)