By Brad Epps, Despina Kakoudaki
Considered one of international cinema’s most fun filmmakers, Pedro Almod?var has been delighting, scary, arousing, surprising, and—above all—entertaining audiences worldwide because 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 movies, the essays right here discover a various diversity of matters: Almod?var’s nuanced use of tv and tune in his motion pictures; his reworkings of conventional movie genres equivalent to comedy, horror, and picture noir; his penchant for melodrama and its dating to depression, violence, and accident; his problematic wondering of sexual and nationwide identities; and his more and more subtle inquiries into visuality and its limits. last 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 miraculous 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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Additional resources for All about Almodovar: A Passion for Cinema
So, even as we bring our protracted project to an end, Almodóvar returns to his ﬁrst major internationally commercial hit to reﬂect on the past and, of course, to continue into the future. The temporal gap that is inevitable when working on the work of someone who is still very much working ensures that our now “ﬁnished” volume, even if it had attempted some systematic accounting of each and every one of Almodóvar’s ﬁlms, will remain in a profound sense forever unﬁnished— and that we critics, with our hubristic pretensions to produce something “all about Almodóvar,” will remain on the verge of a nervous breakdown as we try, impossibly, just to catch up.
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.
Never limiting himself to a single protagonist, he chooses an ensemble of homosexual, bisexual, transsexual, doper, punk, terrorist characters who refuse to be ghettoized into divisive subcultures because they are ﬁgured as part of the ‘new Spanish mentality’—a fast-paced revolt that relentlessly pursues pleasure rather than power, and a postmodern erasure of all repressive boundaries and taboos associated with Spain’s medieval, fascist, and modernist heritage” (34). Although pleasure is never simply opposed to power, as Michel Foucault well knew, its place in the public, political realm had rarely been as vibrantly visible in Spain as in the 1980s, when Almodóvar shot to stardom.