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

By Brad Epps, Despina Kakoudaki

One among global cinema’s most fun filmmakers, Pedro Almod?var has been delighting, scary, arousing, surprising, and—above all—entertaining audiences worldwide given that he first burst onto the overseas movie scene within the early Eighties. All approximately Almod?var bargains new views at the filmmaker’s inventive imaginative and prescient and cinematic preoccupations, affects, and strategies. via overviews of the filmmaker’s oeuvre and in-depth analyses of particular motion pictures, the essays the following discover a various diversity of topics: Almod?var’s nuanced use of tv and track in his motion pictures; his reworkings of conventional movie genres similar to comedy, horror, and movie noir; his penchant for melodrama and its dating to depression, violence, and accident; his elaborate wondering of sexual and nationwide identities; and his more and more subtle inquiries into visuality and its limits. remaining with Almod?var’s personal diary account of the making of Volver and that includes never-before-seen pictures from El Deseo studio, All approximately Almod?var either displays and illuminates its subject’s fantastic eclecticism. members: Mark Allinson, U of Leicester; Pedro Almod?var; Isolina Ballesteros, Baruch collage; 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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Trans. Yves Baignères. London: Faber and Faber, 1996. Triana-Toribio, Núria. Spanish National Cinema. London: Routledge, 2003. Varderi, Alejandro. 47–48 (2006): 357–67. ———. Severo Sarduy y Pedro Almodóvar: Del barroco al kitsch en la narrativa y el cine postmodernos. Madrid: Pliegos, 1996. , and Barbara Morris, eds. Post-Franco, Postmodern: The Films of Pedro Almodóvar. : Greenwood Press, 1995. Vidal, Nuria. El cine de Pedro Almodóvar. Barcelona: Destino, 1988. Williams, Linda. ” Berkeley: University of California Press, 1989.

Desire Unlimited: The Cinema of Pedro Almodóvar. London: Verso, 1994. ———. ” Refiguring Spain: Cinema/Media/Representation. Ed. Marsha Kinder. : Duke University Press, 1997. 178–95. ———. ” Antípodas 11/12 (1999): 15–22. Strauss, Frédéric. Almodóvar on Almodóvar. Trans. Yves Baignères. London: Faber and Faber, 1996. Triana-Toribio, Núria. Spanish National Cinema. London: Routledge, 2003. Varderi, Alejandro. 47–48 (2006): 357–67. ———. Severo Sarduy y Pedro Almodóvar: Del barroco al kitsch en la narrativa y el cine postmodernos.

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.

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