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Showing 1 - 4 of 4 matches in All Departments
Pedro Almodovar's 1988 black comedy-melodrama Women on the Verge of a Nervous Breakdown established its director as one of the most exciting of European film-making talents. An often hilarious study of sexual mores, Women on the Verge has a central character, Pepa (Carmen Maura), as warm and richly drawn as any modern film heroine. Made strong and self-reliant by suffering in a troubled relationship, Pepa is the centre of a network of lovers, friends and family who represent a vivid cross-section of Spanish society. Peter William Evans provides a formidable analysis of Almodovar's insights into gender, sexuality and identity. Evans sees Women on the Verge as concerned with the often tyrannical spell of sexual desire and the anxieties of relationships and families, but also with the possibilities for personal liberation. He discusses the film in the context of the history of Spain and the social revolution that occurred after the death of Franco. In his foreword to this new edition, Evans reflects upon Women on the Verge in the light of Almodovar's subsequent films, and the impact of Carmen Maura's performance as Pepa on the representation of women in Spanish cinema.
Luis Bunuel (1900-83) was one of the world's great film-makers.
Always controversial, his first film, Un Chien andalou (1928),
which he referred to as a 'call to murder', was a savage Surrealist
experiment. L'Age d'or (1930), his second, was banned in Paris
after its initial screening, which had led to violent disturbances.
Thereafter, his films continued to challenge, provoke and subvert
social conventions in their searching analyses of human desire.
"Written on the Wind" (1956) is one of classical Hollywood's most
striking films and This first single study of "Written on the Wind" reassesses the
film's artistic
Carol Reed is one of the truly outstanding directors of British cinema, and one whose work is long overdue for reconsideration. This major study ranges over Reed's entire career, combining observation of general trends and patterns with detailed analysis of twenty films, both acknowledged masterpieces and lesser-known works. Evans avoids a simplistic auteurist approach, placing the films in their autobiographical, socio-political and cultural contexts and relating these to the analysis of Reed's art. The critical approach combines psychoanalysis, gender theory, and the analysis of form. Archival research is also relied on to clarify Reed's relations with his creative team, financial backers and others. Films examined include Bank Holiday, A Girl Must Live, Odd Man Out, The Fallen Idol, The Third Man, Night Train to Munich, The Way Ahead, Outcast of the Islands, Trapeze and Oliver!. -- .
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