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

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

Edited by way of best specialists at the topic, and bringing jointly a stellar forged of members, this precise appraisal of Pedro Almodovar’s targeted cinematic artwork examines the subjects, variety, 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 demonstrated experts in addition to gifted 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 by means of exploring contextual matters corresponding to Almodovar’s transnational charm and the political dimensions of his works
  • Traces the director’s fruitful collaborations within the parts of artwork 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 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 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 previous 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 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 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. okay. Tan
Chapter 22 To the future health 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

Sample text

27–57. PART I Bio-Filmography 1 Almodóvar’s Self-Fashioning The Economics and Aesthetics of Deconstructive Autobiography Paul Julian Smith There seems little doubt that Almodóvar is now the most successful Spanish filmmaker of all time, whether that success is measured in terms of financial or symbolic capital. With no fewer than eighteen feature films, none of which has failed to turn a profit, and countless honors, including the Prince of Asturias Prize, the Légion d’Honneur, many Goyas and innumerable Césars, two Oscars, and an honorary doctorate at Harvard, his career is unparalleled over some thirty years.

Hosted by a 26 Paul Julian Smith site run by transnational retailer FNAC, they both present themselves as “potentially authentic and autonomous modes of expression” (Triana-Toribio 2008: 263). 3 Both sets of habitus in these case studies are contradictory. De la Iglesia ostentatiously divests himself of expertise in any area except gastronomy, even as he presents himself as a “pure filmmaker” in thrall to obsessive cinematic creation (Triana-Toribio 2008: 271, 273); Coixet portrays herself as an engaged and educated artist, citing Gramsci and Stendhal, even as she proudly displays her work as a director of television commercials and provides links for consumers to buy her products (Triana-Toribio 2008: 273, 275).

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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