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

By Brad Epps, Despina Kakoudaki

Certainly one of international cinema’s most enjoyable filmmakers, Pedro Almod?var has been delighting, scary, arousing, stunning, and—above all—entertaining audiences world wide given that he first burst onto the foreign movie scene within the early Eighties. All approximately Almod?var deals new views at the filmmaker’s inventive 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 the following discover a various diversity of topics: Almod?var’s nuanced use of tv and tune in his motion pictures; his reworkings of conventional movie genres resembling comedy, horror, and picture noir; his penchant for melodrama and its dating to depression, violence, and accident; his difficult wondering of sexual and nationwide identities; and his more and more subtle inquiries into visuality and its limits. final 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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Extra info for All about Almodovar: A Passion for Cinema

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But the show also embodied the intimate connections between cinema and television in the person of its attractive and articulate presenter, Caetana Guillén Cuervo, who had just appeared as the main character’s best friend in All about My Mother and who is, in real life, the daughter and sister of the two actors who played the father and son detectives in Law of Desire. TV, the most domestic of media, is here revealed to be a family business. While the two stars’ wardrobe was unexceptional (Almodóvar was clothed in a basic black top a l mod óva r on t e l ev ision  and jeans and Maura in a relatively modest wraparound dress), one unusual feature of the studio setup heightened the potential conflict of the reunion: the speakers were confined to an arena-like circle around which the camera crew was shown to be at work.

Pau l j u l i a n sm i t h TV for medical personnel specialized in organ transplants and features a song by Chavela Vargas heard by main character Leo (Marisa Paredes) on a TV playing in a bar. Live Flesh and All about My Mother offer glimpses of classic movies broadcast on TV to very different households: Luis Buñuel’s The Criminal Life of Archibaldo de la Cruz (1955) plays in the background of the apartment of a junkie (Francesca Neri), and Joseph L. Mankiewicz’s All about Eve (1950) plays in a loving household headed by a single mother (Cecilia Roth).

While the two stars’ wardrobe was unexceptional (Almodóvar was clothed in a basic black top a l mod óva r on t e l ev ision  and jeans and Maura in a relatively modest wraparound dress), one unusual feature of the studio setup heightened the potential conflict of the reunion: the speakers were confined to an arena-like circle around which the camera crew was shown to be at work. Occasional crane shots even allowed the audience to observe Almodóvar, Maura, and Guillén Cuervo from alarmingly vertiginous high angles.

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