By Brad Epps, Despina Kakoudaki

ISBN-10: 081664960X

ISBN-13: 9780816649600

ISBN-10: 0816649618

ISBN-13: 9780816649617

One in every of international cinema’s most fun filmmakers, Pedro Almod?var has been delighting, frightening, arousing, surprising, and—above all—entertaining audiences worldwide on the grounds 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, affects, and methods. via overviews of the filmmaker’s oeuvre and in-depth analyses of particular motion pictures, the essays right here discover a various diversity of topics: Almod?var’s nuanced use of tv and song in his motion pictures; his reworkings of conventional movie genres akin 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 subtle 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 photos from El Deseo studio, All approximately Almod?var either displays and illuminates its subject’s unbelievable eclecticism. participants: 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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The neglect is no surprise. Spanish critics of film, and indeed of television itself, tend to despise TV, a position that Almodóvar would seem to share in Bad Education; foreign critics, even if they are interested in television, tend to lack familiarity with a notoriously domestic medium. What I argue here, however, is that television, however repressed or disavowed by critics, has been central to Almodóvar’s work over the course of twenty-five years. Indeed, his later films, which, as I  pau l j u l i a n sm i t h have suggested in Contemporary Spanish Culture (144–68), resurrect the distinction of “art cinema,” can be profitably reread in the light of TV studies.

D’Lugo offers, that is, a theoretically insightful and historically  i n t roduc t ion nuanced analysis not just of Bad Education, whose title in Spanish also means “bad behavior” or “bad conduct,” but also of Almodóvar’s entire filmography. “The Auteur in Context” constitutes the final section of the book, one that, even as it brings Almodóvar the man center stage, recognizes that he is not an artist in isolation. Pushing against the well-worn habit of using the director’s name to designate work that is, in reality, the result of complex collaborative processes, Ignacio Oliva, in “Inside Almodóvar,” and Francisco Zurián, in “Pepi, Patty, and Beyond: Cinema and Literature in Almodóvar,” widen our field of vision to acknowledge a welter of other creative people, from publishers, producers, writers, and editors to set designers, costume designers, artistic directors, musicians, and makeup artists: Esther García, Lola García, José Salcedo, José Luis Alcaine, Jorge Herralde, Bernardo Bonezzi, José María de Cossío, Francis Montesinos, Jocomola de Sybila, Jesús Ferrero, Jean-Paul Gaultier, Antxón Gómez, Sigfrido Martín Begué, and, of course, his brother Agustín, among many others.

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. Industry To address the status of television in Almodóvar’s cinema, we would do well to start from an industrial perspective.

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All about Almodovar: A Passion for Cinema by Brad Epps, Despina Kakoudaki


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