By Brad Epps, Despina Kakoudaki
One in every of global cinema’s most fun filmmakers, Pedro Almod?var has been delighting, upsetting, arousing, surprising, and—above all—entertaining audiences all over the world due to the fact 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, impacts, and methods. via overviews of the filmmaker’s oeuvre and in-depth analyses of particular motion pictures, the essays right here discover a various variety of matters: Almod?var’s nuanced use of tv and track in his movies; his reworkings of conventional movie genres equivalent to comedy, horror, and movie noir; his penchant for melodrama and its dating to depression, violence, and twist of fate; his tricky wondering of sexual and nationwide identities; and his more and more subtle inquiries into visuality and its limits. remaining with Almod?var’s personal diary account of the making of Volver and that includes never-before-seen images from El Deseo studio, All approximately Almod?var either displays and illuminates its subject’s astonishing eclecticism. individuals: Mark Allinson, U of Leicester; Pedro Almod?var; Isolina Ballesteros, Baruch university; 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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Extra resources for All about Almodovar: A Passion for Cinema
Notes 1. The critical work on Almodóvar and postmodernism is, by now, extensive. ” i n t roduc t ion 2. Camp occupies a place of prominence in Almodóvar’s ﬁlms and in the critical writing on them. See, for instance, Patrick Paul Garlinger and H. Rosi Song’s “Camp: What’s Spain Got to Do with It,” as well as the single-authored essay by Garlinger. Transvestism, often tensely related to camp, is another recurrent subject; see, for instance, Paul Julian Smith’s “Un travestismo sin límites” and Alejandro Varderi’s publications.
Pau l j u l i a n sm i t h TV for medical personnel specialized in organ transplants and features a song by Chavela Vargas heard by main character Leo (Marisa Paredes) on a TV playing in a bar. Live Flesh and All about My Mother oﬀer glimpses of classic movies broadcast on TV to very diﬀerent households: Luis Buñuel’s The Criminal Life of Archibaldo de la Cruz (1955) plays in the background of the apartment of a junkie (Francesca Neri), and Joseph L. Mankiewicz’s All about Eve (1950) plays in a loving household headed by a single mother (Cecilia Roth).
New York: W. W. Norton, 1976. , and P. Colomera. ” Adicciones 15 (2003): 23–30. Shaw, Deborah. 1 (2000): 55–62. Smith, Paul Julian. Desire Unlimited: The Cinema of Pedro Almodóvar. London: Verso, 1994. ———. ” Reﬁguring Spain: Cinema/Media/Representation. Ed. Marsha Kinder. : Duke University Press, 1997. 178–95. ———. ” Antípodas 11/12 (1999): 15–22. Strauss, Frédéric. Almodóvar on Almodóvar. Trans. Yves Baignères. London: Faber and Faber, 1996. Triana-Toribio, Núria. Spanish National Cinema. London: Routledge, 2003.