Download A Companion to Pedro Almodovar by Marvin D'Lugo, Kathleen M. Vernon (eds.) PDF
By Marvin D'Lugo, Kathleen M. Vernon (eds.)
Edited via prime specialists at the topic, and bringing jointly a stellar forged of individuals, this targeted appraisal of Pedro Almodovar’s certain cinematic paintings examines the subjects, type, and aesthetics of his oeuvre and locates it within the context of the profound cultural ameliorations in Spain because the 1970s.
- Brings jointly a stellar solid of individuals from around the globe together with famous and tested experts in addition to proficient more youthful students
- Features contributions by means of Spanish movie historians, the place reviews 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 equivalent 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, type and music
Chapter none advent (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 differently (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 l. a. 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 surface (pages 322–344): Julian Daniel Gutierrez?Albilla
Chapter sixteen Almodovar's Stolen photographs (pages 345–363): Javier Herrera
Chapter 17 girls at the Verge of a frightened Breakdown (pages 365–386): Isolina Ballesteros
Chapter 18 Almodovar's international Musical industry (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 future health of the writer (pages 469–494): John D. Sanderson
Chapter 23 Making Spain trendy (pages 495–523): Gerard Dapena
Chapter 24 Almodovar, Cyberfandom, and Participatory tradition (pages 524–550): Vicente Rodriguez Ortega
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Additional info for A Companion to Pedro Almodovar
Beginning with the same perception of the transnational relevance of the Almodovarian project, E. K. Tan looks initially at the multiple affinities between the Spanish director and another widely celebrated global auteur, the Hong Kong filmmaker, Wong Kar-wai. Turning to a detailed analysis of the influence of Almodóvar’s work on Taiwanese filmmaker Zero Chou’s feature film Splendid Float (2004), Tan traces the former’s role in providing an aesthetic model for the expression of alternatives to mainstream conceptions of gender identity as well opposition to the values imposed by a deeply rooted patriarchal society.
And Schoonover, K. ) (2010). Global Art Cinema: New Theories and Histories. Oxford: Oxford University Press. Gerstner, D. (2003) The Practices of Authorship. In: Gerstner, D. and Staiger, J. ) Authorship and Film. New York and London: Routledge, pp. 3–25. Harguindey, A. (2011). ” El País Semanal (August 21): n. p. html (Accessed March 3, 2012). Higson, A. (2000). ” In M. Hjort and S. ), Cinema and Nation. London: Routledge, pp. 63–74. James, D. (1989). Allegories of Cinema. Princeton: Princeton University Press.
In effect, Almodóvar’s auteurist identity has come full-circle: the early affirmations of liberating self-invention have blended into an increasingly more aggressive awareness of his own marketability as a cultural commodity. This, in turn, has led to progressively more authorial control of his self-image both on-screen and off. ” 16 Marvin D’Lugo and Kathleen M. Vernon Notes 1 It might be better said that Almodóvar’s autobiographical traces are dispersed among the characters, including Gloria and also visible in her youngest son Miguel’s precocious artistic and sexual proclivities.