Edited by means of prime professionals at the topic, and bringing jointly a stellar forged of participants, this exact appraisal of Pedro Almodóvar’s targeted cinematic artwork examines the topics, variety, 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 famous and tested experts in addition to proficient more youthful scholars
• beneficial properties contributions through Spanish movie historians, the place stories of Almodóvar’s paintings were underrepresented within the educational literature
• Deploys new ways to the research of movie authorship through exploring contextual matters corresponding to Almodóvar’s transnational allure and the political dimensions of his works
• lines the director’s fruitful collaborations within the parts of paintings and layout, style and tune
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Extra resources for A Companion to Pedro Almodóvar (Wiley-Blackwell Companions to Film Directors)
For Deleyto this mise en scène is not so much a fantasized setting as primarily a series of visual and aural techniques which turn desire into cinema, and affect into an aesthetic object. At the same time, Deleyto reads the film as a pivotal moment in the director’s corpus as it looks forward to the stunning beauty and visual originality of his later films such as Hable con ella. For Julián Daniel Gutiérrez-Albilla, La mala educación represents another catalyzing moment in the Almodóvar filmography with its complex reflections on the filmic encoding of personal and collective histories.
In a major article she traces the career of two “directores mediáticos,” Álex de la Iglesia and Isabel Coixet, media-savvy cineastes who combine auteurism and commerce. S. film scholars such as Timothy Corrigan suggested equally long ago that the auteur is “a commercial strategy for organizing audience reception, . . a critical concept bound to distribution and marketing aims” (Triana-Toribio 2008: 261). She relates the rise of the mediáticos in Spain to increasing pressure on distribution: the saturation of screens requires aspiring auteurs to compete as never before to “place their product” (Triana-Toribio 2008: 262).
At a corporate level, there are other signs of El Deseo’s desire to connect with changing audiences. The Almodóvars take their social responsibility seriously. Doing well by doing good, they see the sponsorship of younger directors, often from Latin America, as a cinematic duty that brings them little economic benefit but considerable credibility and good will. One El Deseo co-production, Lucrecia Martel’s well-received La mujer sin cabeza/The Headless Woman (2008), was released just a few months before Los abrazos rotos.
A Companion to Pedro Almodóvar (Wiley-Blackwell Companions to Film Directors)