Edited by means of best professionals at the topic, and bringing jointly a stellar solid of members, this distinct appraisal of Pedro Almodóvar’s targeted cinematic artwork examines the subjects, sort, and aesthetics of his oeuvre and locates it within the context of the profound cultural variations in Spain because the 1970s.
• Brings jointly a stellar solid of members from around the globe together with well-known and verified experts in addition to gifted more youthful scholars
• gains contributions through Spanish movie historians, the place reports of Almodóvar’s paintings were underrepresented within the educational literature
• Deploys new methods to the research of movie authorship via exploring contextual concerns corresponding to Almodóvar’s transnational allure and the political dimensions of his works
• strains the director’s fruitful collaborations within the parts of artwork and layout, style and track

Show description

Read or Download A Companion to Pedro Almodóvar (Wiley-Blackwell Companions to Film Directors) PDF

Similar film books

Plots and Characters: A Screenwriter on Screenwriting

Half Hollywood heritage, half background of the paintings of storytelling, this name is infused with Kaufman's wit, intelligence and love of phrases. The plots are these of vintage motion pictures from the Nineteen Forties, and the characters are the bosses, bombshells and undesirable boys of the Golden Age of Hollywood.

The Cinema of Cruelty: From Buñuel to Hitchcock

An awesome selection of essays from the daddy of movie criticism.
Perhaps the one most vital voice of cinema within the 20th century, André Bazin profoundly inspired the advance of the scholarship that we all know now as movie feedback. Bazin has acutely analyzed the cinematic values of our time, extending to his foreign audiences “the influence of paintings for the certainty and discrimination of his readers. ”

The intensity and common sense of his remark has increased movie feedback to new heights. The popularity of André Bazin maintains to develop as his writings are released and studied through filmmakers and filmgoers alike. sometimes called the Edmund Wilson of movie, Bazin was once greater than a critic. “He made me see convinced facets of my paintings that i used to be unaware of,” stated Luis Buñuel. “He used to be our conscience,” wrote Jean Renoir. “He used to be a philosopher in action,” echoed François Truffaut.

In The Cinema of Cruelty, François Truffaut, certainly one of France’s such a lot celebrated and flexible filmmakers, has amassed Bazin’s writings on six movie “greats”: Erich von Stroheim, Carl Dreyer, Preston Sturges, Luis Buñuel, Alfred Hitchcock, and Akira Kurosawa. the result's a big number of movie feedback.

Making Waves: New Cinemas of the 1960s (Revised and Expanded Edition)

The Sixties used to be famously the last decade of intercourse, medications and rock'n'roll. It used to be additionally a decade of revolution and counter-revolution, of the Cuban missile trouble, of the yank intervention in Vietnam, of financial booms and the start of consumerism (and the uprising opposed to it). It was once a decade during which the avantgarde got here out of the closet and into the road, expressing itself on album covers and posters up to in galleries.

Goddess: The Secret Lives of Marilyn Monroe

The definitive biography of 1 of America’s brightest stars
Hers used to be a quick existence that also fascinates the realm. Marilyn Monroe was once born in obscurity and deprivation, and rose to turn into a legend of her century, an outstanding actress, and a lover of the main recognized males in America—only to die younger and less than suspicious conditions, abandoning a secret that is still unsolved to at the present time.  Anthony Summers interviewed greater than 600 humans, laying naked the truths—sometimes humorous, usually sad—about this really good, girl. the 1st to achieve entry to the records of Monroe’s final psychiatrist, Summers makes use of the records toexplain her tangled psyche and her harmful dependancy to medicines. He establishes, after years of mere rumor, that President Kennedy and his brother Robert have been either in detail concerned with Monroe in life—and in protecting up the conditions of her loss of life.

Additional resources for A Companion to Pedro Almodóvar (Wiley-Blackwell Companions to Film Directors)

Example text

Tracing the mutual benefits arising out of these sustained artistic alliances between director and singer, both within and beyond the films, Vernon reveals the intricate workings of Almodóvar’s global musical imaginary. Continuing the emphasis on the role of music and sound that constitutes a ­significant subtext to this volume, Marvin D’Lugo explores the ways in which the geopolitical aesthetics of Almodóvar’s cinema advances the sense of transnational Hispanic identity, largely through the emphasis on a complex acoustic blending of Latin-American and Spanish musical sounds in his films.

However unconvincing this media marriage may be, such role-play serves somewhat narcissistically to echo and reinforce Los abrazos rotos’s main plot strand: the love affair between Cruz’s character and the brilliant director who casts her in his film. In an age, as we have noted, widely believed to belong to the post-auteur and in the midst of a global economic crisis felt with particular intensity in Spain, even the most bankable of veteran name directors may feel the need to lean more heavily than before on a younger celebrity, especially if she is the only Spanish actress readily recognizable abroad.

Displacing queer interest onto the minor character of Martel’s son (also sexually obsessed with Mateo), Almodóvar blurs that conflict over his own sexuality that has been played out in press coverage in different countries and languages. The film’s plot thus serves as a distorting mirror for the reallife concerns of a continuing media metanarrative. Beyond disguised autobiography, Almodóvar also makes a clear bid in Los abrazos rotos for the traditionalist criteria of auteurism, albeit without neglecting overt visual pleasure: the production values remain reassuringly high (especially the expert art design by Antxon Gómez);4 the themes of artistic creativity and amour fou run through the entire oeuvre (although the crazed lovers in Ley and Educación are not the film-obsessed directors, but the young boyfriend played by Antonio Banderas and the ageing ex-priest played by Homar, respectively); and the stylistic signature is unmistakable, even given the presence of a new and potentially disruptive director of photography (Rodrigo Prieto, who shot the hyperkinetic Amores Perros [Alejandro González Iñárritu, 2000]).

Download PDF sample

Rated 4.54 of 5 – based on 29 votes