By Marvin D'Lugo, Kathleen M. Vernon (eds.)
Edited via prime gurus at the topic, and bringing jointly a stellar solid of individuals, this unique appraisal of Pedro Almodovar’s targeted cinematic paintings examines the topics, type, and aesthetics of his oeuvre and locates it within the context of the profound cultural changes in Spain because the 1970s.
- Brings jointly a stellar forged of members from around the globe together with well-known and proven experts in addition to gifted more youthful students
- Features contributions through Spanish movie historians, the place experiences of Almodovar’s paintings were underrepresented within the educational literature
- Deploys new techniques to the research of movie authorship by way of exploring contextual matters corresponding to Almodovar’s transnational attraction and the political dimensions of his works
- Traces the director’s fruitful collaborations within the components of paintings and layout, model 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 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 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 fearful 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 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. ok. 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 info for A Companion to Pedro Almodovar
Mateo’s production manager Judit (steely Blanca Portillo) remarks dismissively early on that Mateo might make more money by writing “one of those fantasy films for kids” (the blind director has now become a screenwriter with the pseudonym “Harry Caine,” presumably named for Welles’s character in The Third Man ). Although this remark may well be a wry acknowledgment that teen movies, both domestic and foreign, are now the biggest grossing features in Spain, a central sequence in Los abrazos rotos has Mateo and his lover Lena, played by Cruz, intently watching Rossellini’s Viaggio in Italia (1954) on television.
Self-penned texts originally from the pressbooks) or access to dedicated sites; “Bibliography” and “scor” (sic) allows surfers to buy books and CDs associated with the films from FNAC; while “specials” collects links to Almodóvar’s exhibition of still photography (also held at FNAC’s central Madrid store) and his self-interviews. While the design of the layout is reminiscent of El Deseo’s distinctive graphics (designed by Juan Gatti), the lack of attention to detail (the frequent misspellings and tardy updating) are far from Almodóvar’s normal perfectionism.
Published 2013 by Blackwell Publishing Ltd. 22 Paul Julian Smith establishes his “passion” for cinema. /What Have I Done to Deserve This? (1984); the “maestro-influenced” period stretches furthest (from Matador  to Tacones lejanos/High Heels ); while the “autobiographical period” concludes the cycle with Todo sobre mi madre/All About My Mother (1999), La mala educación/Bad Education (2004), and Volver (2006) (Wikipedia 2010c). ” The three Wikipedias agree on some facts. For example, they all give Almodóvar’s date of birth as 1949, although the pressbook for Los abrazos rotos suggests with flattering vagueness that it falls within “the 1950s” (Almodóvar 2009b: n.
A Companion to Pedro Almodovar by Marvin D'Lugo, Kathleen M. Vernon (eds.)