By Brad Epps, Despina Kakoudaki
Certainly one of international cinema’s most fun filmmakers, Pedro Almod?var has been delighting, scary, arousing, stunning, and—above all—entertaining audiences around the world due to the fact that he first burst onto the foreign movie scene within the early Nineteen Eighties. All approximately Almod?var bargains new views at the filmmaker’s creative imaginative and prescient and cinematic preoccupations, affects, and methods. via overviews of the filmmaker’s oeuvre and in-depth analyses of particular movies, the essays the following discover a various diversity of topics: Almod?var’s nuanced use of tv and tune in his movies; his reworkings of conventional movie genres reminiscent of comedy, horror, and picture noir; his penchant for melodrama and its courting to depression, violence, and twist of fate; his problematic wondering of sexual and nationwide identities; and his more and more subtle inquiries into visuality and its limits. ultimate with Almod?var’s personal diary account of the making of Volver and that includes never-before-seen photos from El Deseo studio, All approximately Almod?var either displays and illuminates its subject’s stunning 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
S. release of Kika, the ﬁlm in which he oﬀers his most savage critique of the medium, he is reported as saying: It [TV] is an omnipresent eye in everyone’s life. In every country, any place, there is a television. I don’t think there is a day in the year in which we don’t see an image in that square frame. So if there is an open window, then I thought [sic] that someone with a camera could be watching. (Willoquet-Maricondi 102–3) Almodóvar thus implicitly equates television not only with the space-time matrix of everyday life but also with vision and surveillance, seeing and being seen, in the city: the window that he mentions is indeed quite simply the small screen.
Marsh revisits, but does not endorse, criticisms of Almodóvar as being “complicit” i n t roduc t ion with the Right. He cites one in particular, Antonio Elorza, who in an article in the major Spanish daily El País, claims that movies like All about My Mother and Talk to Her are little more than “local Madrilenian variant[s] of the Spielberg style, in all its astuteness as well as its tricks, applied to the sentiments of a human life taken out of context and which in its excesses conﬁrms order.
36 (Nov. 22, 2004): 84–88. D’Lugo, Marvin. ” Vernon and Morris 125–43. ———. Pedro Almodóvar. Chicago: University of Illinois Press, 2006. Doane, Mary Ann. The Emergence of Cinematic Time: Modernity, Contingency, the Archive. Cambridge: Harvard University Press, 2002. Ellis, Robert Richmond. The Hispanic Homograph: Gay Self-Representation in Contemporary Spanish Autobiography. Urbana and Chicago: University of Illinois Press, 1997. Epps, Brad. ” Vernon and Morris 99–124. Evans, Peter. Women on the Verge of a Nervous Breakdown.