By Brad Epps, Despina Kakoudaki
One in every of international cinema’s most enjoyable filmmakers, Pedro Almod?var has been delighting, scary, arousing, stunning, and—above all—entertaining audiences world wide when you consider 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 strategies. via overviews of the filmmaker’s oeuvre and in-depth analyses of particular movies, the essays right here discover a various variety of matters: Almod?var’s nuanced use of tv and song in his movies; his reworkings of conventional movie genres similar to comedy, horror, and picture noir; his penchant for melodrama and its courting to depression, violence, and accident; his complex wondering of sexual and nationwide identities; and his more and more refined inquiries into visuality and its limits. last 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 superb eclecticism. members: 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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Additional resources for All about Almodovar: A Passion for Cinema
Or the United States) and its variously alienated viewers. Although TV professionals sometimes talk of the “two televisual Spains,” the one elderly and rural and the other modern and urban (Palacio and Contreras 187), Almodóvar here posits TV viewing as a kind of ironic communion of social extremes, analogous to other activities that grandmother and grandson perform together: doing homework, forging signatures, and gathering sticks—and lizards—from a dismal urban wasteland. While the working-class characters of What Have I Done to Deserve This?
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1 (2004): 3–10. Hanson, Ellis. 2 (1993): 137–61. Harguindey, Ángel S. ” Babelia. El País (Jan. 14, 1995): 4–5. Hirschberg, Lynn. ” New York Times Magazine (Sept. 5, 2004): 24–70. Jackson, Earl, Jr. ” Solitary Pleasures: The Historical, Literary, and Artistic Discourses of Autoeroticism. Eds. Paula Bennett and Vernon A. Rosario II. New York: Routledge, 1995. 251–75. ———. Strategies of Deviance: Studies in Gay Male Representation. Bloomington: Indiana University Press, 1995. Jordan, Barry. ” Contemporary Spanish Cultural Studies.
All about Almodovar: A Passion for Cinema by Brad Epps, Despina Kakoudaki