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A Companion to Pedro Almodóvar
“Marvin D'Lugo and Kathleen M. Vernon give us the ideal companion to Pedro Almodovar's films. Established and emerging writers offer a rainbow of insights for fans as well as academics.” “Rarely has a contemporary film artist been treated to the kind of broad, rich discussion of their work that can be found in A Companion to Pedro Almodóvar.”
Jerry W. Carlson, Professor of Film Studies, The City College & Graduate Center CUNY
Richard Peña, Professor of Film Studies, Columbia University
Marvin D'Lugo (Edited by), M D′Lugo (Author), Kathleen M. Vernon (Edited by)
9781405195829, Wiley
Hardback, published 5 April 2013
584 pages
25.4 x 18 x 2.9 cm, 1.188 kg
“Well researched and clearly organized, the volume boasts a helpful scholarly apparatus. Almodovar scholars will want to keep this companion handy, and all advanced students of film will appreciate it. Summing Up: Recommended. Graduate students, researchers, faculty.” (Choice, 1 December 2013)
A Companion to Pedro Almodóvar “Marvin D’Lugo and Kathleen M. Vernon give us the ideal companion to Pedro Almodóvar’s films. Established and emerging writers offer a rainbow of insights for fans as well as academics.” “Rarely has a contemporary film artist been treated to the kind of broad, rich discussion of their work that can be found in A Companion to Pedro Almodóvar.” Once the enfant terrible of Spain’s youth culture explosion, the Movida, Pedro Almodóvar’s distinctive film style and career longevity have made him one of the most successful and internationally known filmmakers of his generation. Offering a state-of-the-art appraisal of Almodóvar’s cinema, this original collection is a searching analysis of his technique and cultural significance that includes work by leading authorities on Almodóvar as well as talented young scholars. Crucially included here are contributions by film historians from Almodóvar’s native Spain, where he has been undervalued by the academic and critical establishment. With a balance between textual and contextual approaches, the book expands the scope of previous work on the director to explore his fruitful collaborations with fellow professionals in the areas of art design, fashion, and music as well as the growing reach of a global Almodóvar brand beyond Europe and the United States to Latin America and Asia. It also proposes a reevaluation of the political meanings and engagement of his cinema from the perspective of the profound cultural and historical upheavals that have transformed Spain since the 1970s.
Jerry W. Carlson, Professor of Film Studies, The City College & Graduate Center CUNY
Richard Peña, Professor of Film Studies, Columbia University
Notes on Contributors viii Acknowledgments xv Introduction: The Skin He Lives In 1 Part I Bio-Filmography 19 1 Almodóvar’s Self-Fashioning: The Economics and Aesthetics of Deconstructive Autobiography 21 2 Creative Beginnings in Almodóvar’s Work 39 3 Almodóvar and Hitchcock: A Sorcerer’s Apprenticeship 59 4 A Life, Imagined and Otherwise: The Limits and Uses of Autobiography in Almodóvar’s Films 88 Part II Spanish Contexts 105 5 El Deseo’s “Itinerary”: Almodóvar and the Spanish Film Industry 107 6 Almodóvar and Spanish Patterns of Film Reception 129 7 Memory, Politics, and the Post-Transition in Almodóvar’s Cinema 153 8 The Ethics of Oblivion: Personal, National, and Cultural Memories in the Films of Pedro Almodóvar 176 Part III At the Limits of Gender 201 9 Our Rapists, Ourselves: Women and the Staging of Rape in the Cinema of Pedro Almodóvar 203 10 Paternity and Pathogens: Mourning Men and the Crises of Masculinity in Todo Sobre Mi Madre and Hable Con Ella 225 11 Domesticating Violence in the Films of Pedro Almodóvar 244 12 La piel que habito: A Story of Imposed Gender and the Struggle for Identity 262 Part IV Re-readings 279 13 Re-envoicements and Reverberations in Almodóvar’s Macro-Melodrama 281 14 The Flower of His Secret: Carne trémula and the Mise en Scène of Desire 304 15 Scratching the Past on the Surface of the Skin: Embodied Intersubjectivity, Prosthetic Memory, and Witnessing in Almodóvar’s La mala educación 322 16 Almodóvar’s Stolen Images 345 Part V Global Almodóvar 365 17 Women on the Verge of a Nervous Breakdown: From Madrid (1988) to New York (2010) 367 18 Almodóvar’s Global Musical Marketplace 387 19 Almodóvar and Latin America: The Making of a Transnational Aesthetic in Volver 412 20 Is there a French Almodóvar? 432 21 Almodóvar in Asia: Hong Kong, Taiwan, and LGBT Film Culture 453 Part VI Art and Commerce 469 22 To the Health of the Author: Art Direction in Los abrazos rotos 471 23 Making Spain Fashionable: Fashion and Design in Pedro Almodóvar’s Cinema 495 24 Almodóvar, Cyberfandom, and Participatory Culture 524 Index 551
Marvin D’Lugo and Kathleen M. Vernon
Paul Julian Smith
Francisco A. Zurian
Dona Kercher
Alberto Mira
Marina Díaz López
Josetxo Cerdán and Miguel Fernández Labayen
Juan Carlos Ibáñez
Adrián Pérez Melgosa
Leora Lev
Dean Allbritton
Noelia Saenz
Francisco A. Zurian
Marsha Kinder
Celestino Deleyto
Julián Daniel Gutiérrez-Albilla
Javier Herrera
Isolina Ballesteros
Kathleen M. Vernon
Marvin D’Lugo
Jean-Claude Seguin
E. K. Tan
John D. Sanderson
Gerard Dapena
Vicente Rodríguez Ortega
Subject Areas: Society & culture: general [JF]
