By Brad Epps, Despina Kakoudaki
One among international cinema’s most fun filmmakers, Pedro Almod?var has been delighting, upsetting, arousing, surprising, and—above all—entertaining audiences all over the world given that he first burst onto the overseas movie scene within the early Nineteen Eighties. All approximately Almod?var deals new views at the filmmaker’s creative imaginative and prescient and cinematic preoccupations, affects, and strategies. via overviews of the filmmaker’s oeuvre and in-depth analyses of particular movies, the essays right here discover a various variety of topics: Almod?var’s nuanced use of tv and tune in his motion pictures; his reworkings of conventional movie genres resembling comedy, horror, and movie noir; his penchant for melodrama and its courting to depression, violence, and twist of fate; his complicated wondering of sexual and nationwide identities; and his more and more refined inquiries into visuality and its limits. ultimate with Almod?var’s personal diary account of the making of Volver and that includes never-before-seen pictures from El Deseo studio, All approximately Almod?var either displays and illuminates its subject’s unbelievable eclecticism. members: Mark Allinson, U of Leicester; Pedro Almod?var; Isolina Ballesteros, Baruch collage; Leo Bersani, UC Berkeley; Marvin D’Lugo, Clark U; Ulysse Dutoit, UC Berkeley; Peter William Evans, Queen Mary U of London; V?ctor Fuentes, UC Santa Barbara; Marsha Kinder, USC; Steven Marsh, U of Illinois, Chicago; Andy Medhurst, U of Sussex; Ignacio Olivia, Universidad Castilla–La Mancha, Cuenca; Paul Julian Smith, U of Cambridge; Kathleen M. Vernon, SUNY Stony Brook; Linda Williams, UC Berkeley; Francisco A. Zuri?n, U Carlos III, Madrid.
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Additional resources for All about Almodovar: A Passion for Cinema
In What Have I Done to Deserve This? ” Originally performed by Miguel Molina, Almodóvar and musical crony McNamara, who used as a ﬁrst name Fanny or Fabio interchangeably, reprise the song to comic eﬀect. For its part, Matador begins with clips of slasher footage, which a retired bullﬁghter turned serial killer (Nacho Martínez) enjoys in feverish isolation on his home TV; it also includes a jab at partisan news reporting, which features a strident journalist who denounces the “breathtaking cynicism” of a lawyer (in reality also a serial killer, played by Assumpta Serna) who defends a client accused of murder.
Marsh revisits, but does not endorse, criticisms of Almodóvar as being “complicit” i n t roduc t ion with the Right. He cites one in particular, Antonio Elorza, who in an article in the major Spanish daily El País, claims that movies like All about My Mother and Talk to Her are little more than “local Madrilenian variant[s] of the Spielberg style, in all its astuteness as well as its tricks, applied to the sentiments of a human life taken out of context and which in its excesses conﬁrms order.
Severo Sarduy y Pedro Almodóvar: Del barroco al kitsch en la narrativa y el cine postmodernos. Madrid: Pliegos, 1996. , and Barbara Morris, eds. Post-Franco, Postmodern: The Films of Pedro Almodóvar. : Greenwood Press, 1995. Vidal, Nuria. El cine de Pedro Almodóvar. Barcelona: Destino, 1988. Williams, Linda. ” Berkeley: University of California Press, 1989. Willoquet-Maricondi, Paula, ed. Pedro Almodóvar: Interviews. Jackson: University Press of Mississippi, 2004. I FORMS AND FIGURES This page intentionally left blank 1 Almodóvar on Television Industry and Thematics pau l j u l i a n sm i t h T elevision is vital to an understanding of Pedro Almodóvar’s cinema, both because Almodóvar and his independent production company El Deseo have often relied on television for production funding and distribution and because the ﬁlms themselves engage consistently and substantially with the medium.
All about Almodovar: A Passion for Cinema by Brad Epps, Despina Kakoudaki
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