By Marvin D'Lugo, Kathleen M. Vernon (eds.)
Edited by way of prime professionals at the topic, and bringing jointly a stellar solid of members, this certain appraisal of Pedro Almodovar’s detailed cinematic paintings examines the topics, 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 forged of participants from around the globe together with well-known and demonstrated experts in addition to gifted more youthful students
- Features contributions by means of Spanish movie historians, the place stories of Almodovar’s paintings were underrepresented within the educational literature
- Deploys new methods to the research of movie authorship through exploring contextual concerns reminiscent of Almodovar’s transnational allure and the political dimensions of his works
- Traces the director’s fruitful collaborations within the parts of artwork and layout, model and music
Chapter none creation (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 in a different way (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 movies 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 earlier 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 ladies at the Verge of a anxious Breakdown (pages 365–386): Isolina Ballesteros
Chapter 18 Almodovar's international Musical market (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. okay. Tan
Chapter 22 To the wellbeing and fitness of the writer (pages 469–494): John D. Sanderson
Chapter 23 Making Spain stylish (pages 495–523): Gerard Dapena
Chapter 24 Almodovar, Cyberfandom, and Participatory tradition (pages 524–550): Vicente Rodriguez Ortega
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Additional resources for A Companion to Pedro Almodovar
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. Kinder, M. (2009). ), All About Almodóvar. Minneapolis: University Of Minnesota Press, pp. 267–295. Limnander, A. (2009). ” New York Times Magazine (May 3): 64–5. Perriam, C. (2003). Stars and Masculinities in Spanish Cinema. Oxford: Oxford University Press.
Triana-Toribio also studies in detail the new auteurs’ homepages with a particular emphasis on those of Álex de la Iglesia and Isabel Coixet. Hosted by a 26 Paul Julian Smith site run by transnational retailer FNAC, they both present themselves as “potentially authentic and autonomous modes of expression” (Triana-Toribio 2008: 263). 3 Both sets of habitus in these case studies are contradictory. De la Iglesia ostentatiously divests himself of expertise in any area except gastronomy, even as he presents himself as a “pure filmmaker” in thrall to obsessive cinematic creation (Triana-Toribio 2008: 271, 273); Coixet portrays herself as an engaged and educated artist, citing Gramsci and Stendhal, even as she proudly displays her work as a director of television commercials and provides links for consumers to buy her products (Triana-Toribio 2008: 273, 275).
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. Kinder, M. (2009). ), All About Almodóvar. Minneapolis: University Of Minnesota Press, pp. 267–295. Limnander, A. (2009). ” New York Times Magazine (May 3): 64–5. Perriam, C. (2003). Stars and Masculinities in Spanish Cinema.
A Companion to Pedro Almodovar by Marvin D'Lugo, Kathleen M. Vernon (eds.)