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