By Brad Epps, Despina Kakoudaki
One in every of global cinema’s most fun filmmakers, Pedro Almod?var has been delighting, upsetting, arousing, stunning, and—above all—entertaining audiences all over the world given that he first burst onto the overseas movie scene within the early Eighties. All approximately Almod?var deals new views at the filmmaker’s inventive imaginative and prescient and cinematic preoccupations, impacts, and strategies. via overviews of the filmmaker’s oeuvre and in-depth analyses of particular movies, the essays the following discover a various diversity of matters: Almod?var’s nuanced use of tv and track in his movies; his reworkings of conventional movie genres corresponding to 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 refined inquiries into visuality and its limits. ultimate with Almod?var’s personal diary account of the making of Volver and that includes never-before-seen images from El Deseo studio, All approximately Almod?var either displays and illuminates its subject’s staggering 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
Allinson sets melodrama alongside tragedy, that supposedly higher form of representation that is rarely evoked in studies on Almodóvar. ” Yet even as Allinson discovers a tragic glint in All about My Mother, he is more concerned with demonstrating that Talk to Her, while retaining many melodramatic features, approaches something more recognizably tragic. Although Allinson reaﬃrms the conventions of genre even as he pushes at them, he points to a critical dynamic between diegesis as “telling” or “relating” and mimesis as “showing” or “acting out” that raises important questions about the interplay of the visual and the verbal, enactment and narration, in the art of cinema.
I n t roduc t ion 2. Camp occupies a place of prominence in Almodóvar’s ﬁlms and in the critical writing on them. See, for instance, Patrick Paul Garlinger and H. Rosi Song’s “Camp: What’s Spain Got to Do with It,” as well as the single-authored essay by Garlinger. Transvestism, often tensely related to camp, is another recurrent subject; see, for instance, Paul Julian Smith’s “Un travestismo sin límites” and Alejandro Varderi’s publications. 3. , or Desire Limited. And yet, as the title of Paul Julian Smith’s monograph on the director wittily indicates, Almodóvar repeatedly gestures to desire unlimited, to desire taken to the limit and then pushed, or tripped, or tweaked beyond.
Perhaps the putative overexposure of certain aspects of sex and desire i n t roduc t ion (more than one of Almodóvar’s ﬁlms has been saddled with an NC-17 and even an X rating in the United States) allows for a sort of subtle withholding of others; perhaps the visible, and better still the hypervisible, the frenetically visible, would not be possible without the invisible, without a limit, material and symbolic, that may never be ﬁrmly located and, for that reason, never fully overcome. In “Almodóvar’s Girls,” Leo Bersani and Ulysse Dutoit, taking All about My Mother as their point of departure and of arrival, set their sights on a wide range of ﬁlms in order to sound out some of the tensions between aesthetics and desire, autobiography and ﬁction, the repetition and dissolution of identity.
All about Almodovar: A Passion for Cinema by Brad Epps, Despina Kakoudaki