Edited via major professionals at the topic, and bringing jointly a stellar forged of members, this exact appraisal of Pedro Almodóvar’s distinct cinematic artwork examines the subjects, kind, 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 solid of individuals from around the globe together with famous and tested experts in addition to gifted more youthful scholars
• beneficial properties contributions via Spanish movie historians, the place reports of Almodóvar’s paintings were underrepresented within the educational literature
• Deploys new ways to the research of movie authorship through exploring contextual matters resembling Almodóvar’s transnational allure and the political dimensions of his works
• lines the director’s fruitful collaborations within the parts of paintings and layout, type and track
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Extra resources for A Companion to Pedro Almodóvar (Wiley-Blackwell Companions to Film Directors)
This current volume is divided into six sections that include bio-filmography, Spanish and global contexts, re-readings of various films and sections interrogating Almodóvar’s cinema in relation to gender, art, commerce, and society. But a third collection employed a very different structuring principle, with loosely defined groupings of essays on “Forms and Figures” (sound, violence, comedy), “Melodrama and its Discontents,” “The Limits of Representation” (girls, brothers, and nostalgia), and (finally) “The Auteur in Context” (Epps and Kakoudaki 2009).
Confessional, albeit in a symbolic mode, such self-reference attempts to render long-term fans complicit with the films’ creator by evoking shared and fond memories of past cinematic pleasures. In this case, however, Almodóvar does not engage the richly particularized cultural location of Volver. Los abrazos rotos’s background, both historical (the film is set in 1992 and the present) and geographical (the film was shot in Madrid and the Canaries), is only lightly sketched in. 1 Memories of past cinematic pleasures: Almodóvar on the set of Chicas y maletas, the film-within-the-film in Los abrazos rotos (Pedro Almodóvar, 2011; prod.
Significantly they turn around El Deseo’s transnational projection, which, we remember, takes pride of place in the company’s image of itself. Writing from Cannes, where Los abrazos rotos was in competition for the Palme d’Or (May 26, 2009), Almodóvar inveighs against the festival coverage by El País’s chief film critic, Carlos Boyero, and its arts editor, Borja Hermoso, perhaps the highest profile “detractors” of the director. 5 Replying to Almodóvar’s attack on their colleague in an open letter posted on the paper’s website and reproduced by the director (May 27, 2009), El País’s “staff committee” responded unsurprisingly with some hostility.
A Companion to Pedro Almodóvar (Wiley-Blackwell Companions to Film Directors)