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    <subfield code="a">A companion to Pedro Almod&#xF3;var /</subfield>
    <subfield code="c">edited by Marvin D'Lugo and Kathleen M. Vernon.</subfield>
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    <subfield code="a">Includes bibliographical references and index.</subfield>
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    <subfield code="t">Introduction: the skin he lives in /</subfield>
    <subfield code="r">Marvin D'Lugo and Kathleen M. Vernon --</subfield>
    <subfield code="g">Part I.</subfield>
    <subfield code="t">Bio-Filmography:</subfield>
    <subfield code="g">1.</subfield>
    <subfield code="t">Almod&#xF3;var's self-fashioning: the economics and aesthetics of deconstructive biography /</subfield>
    <subfield code="r">Paul Julian Smith;</subfield>
    <subfield code="g">2.</subfield>
    <subfield code="t">Creative beginnings in Almod&#xF3;var's work /</subfield>
    <subfield code="r">Francisco A. Zuri&#xE1;n;</subfield>
    <subfield code="g">3.</subfield>
    <subfield code="t">Almod&#xF3;var and Hitchcock: a sorcerer's apprenticeship /</subfield>
    <subfield code="r">Dona Kercher;</subfield>
    <subfield code="g">4.</subfield>
    <subfield code="t">A life, imagined and otherwise: the limits and uses of autobiography in Almod&#xF3;var's films /</subfield>
    <subfield code="r">Alberto Mira --</subfield>
    <subfield code="g">Part II.</subfield>
    <subfield code="t">Spanish Contexts:</subfield>
    <subfield code="g">5.</subfield>
    <subfield code="t">El Deseo's "Itinerary:: Almod&#xF3;var and the Spanish film industry /</subfield>
    <subfield code="r">Marina Diaz L&#xF3;pez;</subfield>
    <subfield code="g">6.</subfield>
    <subfield code="t">Almod&#xF3;var and Spanish patterns of film reception /</subfield>
    <subfield code="r">Josetxo Cerd&#xE1;n and Miguel Fernandez Lagayen;</subfield>
    <subfield code="g">7.</subfield>
    <subfield code="t">Memory, politics and the post-transition in Almod&#xF3;var's cinema /</subfield>
    <subfield code="r">Juan Carol Ib&#xE1;&#xF1;ez;</subfield>
    <subfield code="g">8.</subfield>
    <subfield code="t">The ethics of oblivion: personal, national, and cultural memories in the films of Pedro Almod&#xF3;var /</subfield>
    <subfield code="r">Adrissn P&#xE9;rez Melgosa --</subfield>
    <subfield code="g">Part II.</subfield>
    <subfield code="t">At the Limits of Gender:</subfield>
    <subfield code="g">9.</subfield>
    <subfield code="t">Our rapists ourselves: women and the staging of rape in the cinema of Pedro Almod&#xF3;var /</subfield>
    <subfield code="r">Leora Lev;</subfield>
    <subfield code="t">10.</subfield>
    <subfield code="t">Paternity and pathogens: mourning men and the crises of masculinity in Todo sobre mi madre and Hable con ella /</subfield>
    <subfield code="r">Dean Albritton;</subfield>
    <subfield code="g">11.</subfield>
    <subfield code="t">Domesticating violence in the films of Pedro Almod&#xF3;var /</subfield>
    <subfield code="r">Noelia Saenz;</subfield>
    <subfield code="g">12.</subfield>
    <subfield code="t">La piel que habito: a story of imposed gender and the struggle for identity /</subfield>
    <subfield code="r">Francisco A. Zuri&#xE1;n --</subfield>
    <subfield code="g">Part IV.</subfield>
    <subfield code="t">Re-Readings:</subfield>
    <subfield code="g">13.</subfield>
    <subfield code="t">Re-envoicements and reverberations in Almod&#xF3;var's macro-melodrama /</subfield>
    <subfield code="r">Marsha Kinder;</subfield>
    <subfield code="g">14.</subfield>
    <subfield code="t">The flower of his secret: Carne tr&#xE9;mula and the Mise en scene of Desire /</subfield>
    <subfield code="r">Celestino Deleyto;</subfield>
    <subfield code="g">15.</subfield>
    <subfield code="t">Scratching the past on the "surface" of the "skin": embodied inter-subjectivity, prosthetic memory, and witnessing in Almod&#xF3;var's La mala educaci&#xF3;n /</subfield>
    <subfield code="r">Julian Daniel Guti&#xE9;rrez-Albila;</subfield>
    <subfield code="g">16.</subfield>
    <subfield code="t">Almod&#xF3;var's stolen images /</subfield>
    <subfield code="r">Javier Herrera --</subfield>
    <subfield code="g">Part V.</subfield>
    <subfield code="t">Global Almod&#xF3;var:</subfield>
    <subfield code="g">17.</subfield>
    <subfield code="t">Women on the verge of nervous breakdown: from Madrid (1988) to New York (2010) /</subfield>
    <subfield code="r">Isolina Ballesteros;</subfield>
    <subfield code="g">18.</subfield>
    <subfield code="t">Almod&#xF3;var's global musical marketplace /</subfield>
    <subfield code="r">Kathleen M. Vernon;</subfield>
    <subfield code="g">19.</subfield>
    <subfield code="t">Almod&#xF3;var and Latin America: The making of a transnational aesthetic in Volver /</subfield>
    <subfield code="r">Marvin D'lugo;</subfield>
    <subfield code="g">20.</subfield>
    <subfield code="t">Is there a French Almod&#xF3;var? /</subfield>
    <subfield code="r">Jean-Claude Seguin;</subfield>
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    <subfield code="t">Almod&#xF3;var in Asia: Hong Kong, Taiwan and LGBT film culture /</subfield>
    <subfield code="r">E.K. Tan --</subfield>
    <subfield code="g">Part VI.</subfield>
    <subfield code="t">Art and Commerce:</subfield>
    <subfield code="g">22.</subfield>
    <subfield code="t">To the health of the author: art direction in Los abrazos rotos /</subfield>
    <subfield code="r">John D. Sanderson;</subfield>
    <subfield code="g">23.</subfield>
    <subfield code="t">Making Spain fashionable: fashion and design in Pedro Almod&#xF3;var's cinema /</subfield>
    <subfield code="r">Gerard Dapena;</subfield>
    <subfield code="g">24.</subfield>
    <subfield code="t">Almod&#xF3;var, cyberfandom and participatory culture /</subfield>
    <subfield code="r">Vicente Rodriguez-Ortega.</subfield>
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    <subfield code="b">Edited by leading authorities on the subject, and bringing together a stellar cast of contributors, this detailed appraisal of Pedro Almodovar's unique cinematic art examines the themes, style, and aesthetics of his oeuvre and locates it in the context of the profound cultural transformations in Spain since the 1970s.</subfield>
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