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ISBN-10: 1405195827

ISBN-13: 9781405195829

Edited by means of prime specialists at the topic, and bringing jointly a stellar forged of members, this particular appraisal of Pedro Almodóvar’s detailed cinematic paintings examines the subjects, kind, and aesthetics of his oeuvre and locates it within the context of the profound cultural alterations in Spain because the 1970s.
• Brings jointly a stellar solid of participants from around the globe together with well-known and tested experts in addition to gifted more youthful scholars
• positive factors contributions by means of Spanish movie historians, the place reports of Almodóvar’s paintings were underrepresented within the educational literature
• Deploys new ways to the research of movie authorship by way of exploring contextual concerns corresponding to Almodóvar’s transnational allure and the political dimensions of his works
• lines the director’s fruitful collaborations within the parts of artwork and layout, model and tune

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Extra info for A Companion to Pedro Almodóvar (Wiley-Blackwell Companions to Film Directors)

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And anyone reading Almodóvar’s texts receives an unhealthy impression of, at worst, paranoia or, at best, “negativity bias” (Marano 2003). The latter is a widespread, but unattractive, psychological quirk whereby critical comments, however infrequent, are felt by their victim to outweigh positive opinions, however numerous and flattering. While one could perhaps read the polemic cynically as part of Almodóvar’s continuing attempt to compete to place his product ahead of that of other auteurs, it seems more likely that, as El País’s staff committee observed, his behavior served rather to damage his “figure,” that reputation which El Deseo is so devoted to burnishing.

What Have I Done to Deserve This? (1984); the “maestro-influenced” period stretches furthest (from Matador [1986] to Tacones lejanos/High Heels [1991]); while the “autobiographical period” concludes the cycle with Todo sobre mi madre/All About My Mother (1999), La mala educación/Bad Education (2004), and Volver (2006) (Wikipedia 2010c). ” The three Wikipedias agree on some facts. For example, they all give Almodóvar’s date of birth as 1949, although the pressbook for Los abrazos rotos suggests with flattering vagueness that it falls within “the 1950s” (Almodóvar 2009b: n.

The first is hosted, like those of de la Iglesia and Coixet, by French book and video retailer FNAC (Clubcultura 2005). Although claimed as an “official site” in three languages, it has not been updated for five years, with the most recent “News” being the pre-production of Volver. e. self-penned texts originally from the pressbooks) or access to dedicated sites; “Bibliography” and “scor” (sic) allows surfers to buy books and CDs associated with the films from FNAC; while “specials” collects links to Almodóvar’s exhibition of still photography (also held at FNAC’s central Madrid store) and his self-interviews.

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A Companion to Pedro Almodóvar (Wiley-Blackwell Companions to Film Directors)

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