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研究生： 楊羽絜
Yang, Yu-Chieh
論文名稱： 阿莫多瓦電影中的互文性
Intertextual Devices in the Work of Pedro Almódovar: An Integrated View
指導教授： 路狄諾
Dinu Luca
學位類別： 碩士
Master
系所名稱： 歐洲文化與觀光研究所
Graduate Institute of European Cultures and Tourism
論文出版年： 2017
畢業學年度： 105
語文別： 英文
論文頁數： 137
中文關鍵詞： Pedro Almódovar 、Intertextuality
英文關鍵詞： Pedro Almódovar, Intertextuality
DOI URL： https://doi.org/10.6345/NTNU202203172
論文種類： 學術論文
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    • My thesis explores the legacy of Pedro Almodóvar, a Spanish film director, screenwriter and producer of international fame. The ways Almodóvar deals with the role of women, sexual desire, violence, drugs, homosexuality and many controversial issues have built his reputation. This renowned director was a pioneer of La Movida Madrileña, a short cultural renaissance that began in Madrid after the death of dictator Francisco Franco. Almodóvar was greatly influenced by pop culture and the rise of Postmodernism in the 1960s. Besides this inspiration from cultural trends and social movements, his creative style was also inspired by his own unique life experiences. In this thesis, I focus on how Almodóvar uses intertextuality as a cinematic technique to depict stories and entertain audiences.
    This thesis is divided into four chapters. Chapter one is a sketch of Spain’s cultural background in the 20th century, including chronicling the most significant historical events and outlining the contemporary Spanish film industry. In chapter two, based on critics’ statements and Almodóvar’s interviews, I examine this director’s whole life experiences and the themes and genres of his films. Chapter three is an overview of intertextuality, including allusion, pastiche, parody, quotation and mise en abyme as postmodernist devices, with a focus on how they are presented in an Almodóvaran way. Reviewing their historical use first, I next concentrate on how these devices function in Almodóvar’s films. Finally, my conclusions come in chapter four.

    My thesis explores the legacy of Pedro Almodóvar, a Spanish film director, screenwriter and producer of international fame. The ways Almodóvar deals with the role of women, sexual desire, violence, drugs, homosexuality and many controversial issues have built his reputation. This renowned director was a pioneer of La Movida Madrileña, a short cultural renaissance that began in Madrid after the death of dictator Francisco Franco. Almodóvar was greatly influenced by pop culture and the rise of Postmodernism in the 1960s. Besides this inspiration from cultural trends and social movements, his creative style was also inspired by his own unique life experiences. In this thesis, I focus on how Almodóvar uses intertextuality as a cinematic technique to depict stories and entertain audiences.
    This thesis is divided into four chapters. Chapter one is a sketch of Spain’s cultural background in the 20th century, including chronicling the most significant historical events and outlining the contemporary Spanish film industry. In chapter two, based on critics’ statements and Almodóvar’s interviews, I examine this director’s whole life experiences and the themes and genres of his films. Chapter three is an overview of intertextuality, including allusion, pastiche, parody, quotation and mise en abyme as postmodernist devices, with a focus on how they are presented in an Almodóvaran way. Reviewing their historical use first, I next concentrate on how these devices function in Almodóvar’s films. Finally, my conclusions come in chapter four.

    Table of Contents Illustrations 5 Introduction 6 Chapter One: Art, Culture, Film and History in Spain in the 20th Century 12 1 Spanish History and Dominant Cultural Forms in the 20th Century 12 1.1 Disasters in the Late 19th Century and Beginnings of Modernism 12 1.1.1 Modernism in Literature 15 1.1.2 Modernism in Art 20 1.1.3 Challenges and crises 23 1.1.4 The Republic and the Spanish Civil War 24 1.2 Surrealism 25 1.3 Society and the Arts under Franco 26 1.4 After Franco and the Transition to Democracy 29 2 The Spanish Film Industry in the 20th century 31 2.1 Early Cinema: Silent Films, Sound Films and Surrealist Films 31 2.1.1 The Competition between Barcelona and Madrid 32 2.1.2 Surrealism in Spanish Cinema 33 2.1.3 The Arriving of Sound Era 35 2.2 Spanish Civil War Films: from 1936 to 1939 37 2.2.1 Spanish Cinema as Political Propaganda 38 2.3 Films Under Franco 40 2.3.1 Spanish Cinema as Educational Access 40 2.3.2 Censorship 41 2.3.3 Italian Neorealism and New Spanish Cinema Movement 43 2.4 Spanish Movies from the Democratic Period 46 3 The Cultural Form of La Movida 48 3.1 Arts in La Movida 50 3.2 Pedro Almodóvar in La Movida 54 4 Conclusion 58 Chapter Two: Almodóvar, the Man and His Films 60 1 Almodóvar’s Life and Films 60 1.1 Mother and Family: Where Typical Female Characters Come From 60 1.2 La Mancha: The Eternal Hometown 62 1.3 Religious School: The Loss of Belief and Chastity 64 1.4 Madrid - A Whole New Adventure 67 1.5 Conclusion 69 2 Almodóvar’s Themes and Directions 72 2.1 Politics 75 2.2 Tradition 76 2.3 Society 78 2.4 Sexuality 80 2.5 Media 82 2.6 Conclusion 83 Chapter Three: Almodóvar’s Intertextualities 85 1 Introduction 85 2 Quotation 89 2.1 An Introduction to Quotation 89 2.2 Quotation in Almodóvar’s Works 90 2.2.1 Films as Quotations 90 2.2.2 Plays as Quotations in Talk to Her 93 2.2.3 Song Lyrics as Quotations 95 3 Allusion 95 3.1 An introduction to allusion 96 3.2 Films as Allusions in Almodóvar’s Works 97 3.2.1 Hidden Allusions in Women on the Verge of a Nervous Breakdown 99 4 Parody 102 4.1 An Introduction to Parody 103 4.2 Parodies in Almodóvar’s Works 104 5 Pastiche 107 5.1 An Introduction to Pastiche 107 5.2 Pastiche in Almodóvar’s Works 109 5.3 Auto-pastiche/ Self-pastiche 112 6 Mise en abyme 115 6.1 An Introduction to Mise en abyme 115 6.2 Mise en abyme in Almodóvar’s Works 117 6.2.1 A Streetcar Named Desire in All About My Mother 118 6.2.2 The Shrinking Lover in Talk to Her 119 6.2.3 The Visit in Bad Education 120 7 Conclusion 124 Chapter Four: Conclusions 127 Film Sources 132 Bibliography 133

    Books
    Allen, Graham. Intertextuality. New York: Routledge, 2011.
    Allinson, Mark. A Spanish Labyrinth: The Films of Pedro Almodóvar. London: I.B. Tauris, 2001.
    Almodóvar, Pedro and Willoquet-Maricondi, Paula. Pedro Almodóvar: Interviews. Jackson: University Press of Mississippi, 2004.
    Almodóvar, Pedro and Strauss, Frédéric. Almodóvar on Almodóvar. New York: Farrar, Straus and Giroux, 2006.
    Boyd, David and Palmer, R. Barton. After Hitchcock: Influence, Imitation, and Intertextuality. Austin: University of Texas Press, 2010.
    Childs, Peter. Modernism. Hove: Psychology Press, 2000.
    D’Lugo, Marvin and M. Vernon, Kathleen. A Companion to Pedro Almodóvar. New York: John Wiley & Sons, 2013.
    D’Lugo, Marvin. Guide to the Cinema of Spain. Westport: Greenwood Publishing Group, 1997.
    D’Lugo, Marvin. Waves of Opposition. Champaign: University of Illinois Press, 2006.
    Degli-Esposti, Cristina. Postmodernism in the Cinema. Oxford: Berghahn Books, 1998.
    Edgar-Hunt, Robert, Marland, John and Rawle, Steven. Basics Film-Making 04: The Language of Film. Worthing: AVA Publishing, 2010.
    Edwards, Gwynne. Almodóvar: Labyrinth of Passion. London: Peter Owen, 2001.
    Epps, Brad and Kakoudaki, Despina. All about Almodóvar: A Passion for Cinema. Minneapolis: University of Minnesota Press, 2009.
    Eysteinsson, Ástrádur and Liska, Vivian. Modernism, Volume 1. Amsterdam: John Benjamins Publishing, 2007.
    Fabe, Marilyn. Closely Watched Films: An Introduction to the Art of Narrative Film Technique. Bognor Regis: University Press Group Ltd, 2004.
    Faulkne, Sally. A History of Spanish Film: Cinema and Society 1910-2010. London: Bloomsbury Academic, 2013.
    Feenstra, Pietsie. New Mythological Figures in Spanish Cinema: Dissident Bodies Under Franco. Amsterdam: Amsterdam University Press, 2011.
    Finney, Gail. Look Who’s Laughing: Gender and Comedy. Abingdon: Taylor & Francis, 1994.
    Fischer, Gerhard and Greiner, Bernhard. The Play Within the Play: The Performance of Meta-theatre and Self-reflection. Amsterdam: Rodopi, 2007.
    Fuentes, Victor. Almodóvar's Postmodern Cinema: A Workin Progress in Post-Franco, Postmodern: The Films of Pedro Almodóvar. Westport: Greenwood Press, 2009.
    Gaycken, Oliver. Devices of Curiosity: Early Cinema and Popular Science. Oxford: Oxford University Press, 2015.
    Giere, Samuel D. A New Glimpse of Day One: Intertextuality, History of Interpretation, and Genesis. Berlin: Walter de Gruyter, 2009.
    Greeley, Robin Adèle. Surrealism and the Spanish Civil War. New Haven: Yale University Press, 2006.
    Harris, Derek. The Spanish Avant-garde. Manchester: Manchester University Press, 1995.
    Harrison, Joseph and Hoyle, Alan. Spain's 1898 Crisis: Regenerationism, Modernism, Postcolonialism. Manchester: Manchester University Press, 2000.
    Hayward, Susan. Cinema Studies: The Key Concepts. New York: Routledge, 2013.
    Hoesterey, Ingeborg. Pastiche: Cultural Memory in Art, Film, Literature. Bloomington: Indiana University Press, 2001.
    Hortelano, Lorenzo J. Torres. Directory of World Cinema: Spain. Bristol: Intellect Books, 2011.
    Hurcombe, Martin. France and the Spanish Civil War: Cultural Representations of the War Next Door, 1936–1945. Farnham: Ashgate Publishing, 2013.
    Hutcheon, Linda. A Theory of Parody: The Teachings of Twentieth-century Art Forms. Champaign: University of Illinois Press, 1985.
    Kayhan, Sezen. Fragments of Tragedy in Postmodern Film. Cambridge: Cambridge Scholars Publishing, 2014.
    Kercher, Dona. Latin Hitchcock: How Almodóvar, Amen bar, De la Iglesia, Del Toro and Campanella Became Notorious. New York: Columbia University Press, 2015.
    Kinder, Marsha. Blood Cinema: The Reconstruction of National Identity in Spain. Oakland: University of California Press, 1993.
    Kinder, Marsha. Refiguring Spain: Cinema, Media, Representation. Durham: Duke University Press, 1997.
    Kovac, Steven. From Enchantment to Rage: The Story of Surrealist Cinema. Teaneck: Fairleigh Dickinson, 1980.
    Kuhn, Annette. Alien Zone: Cultural Theory and Contemporary Science Fiction Cinema. London: Verso, 1990.
    Labanyi, Jo and Pavlović, Tatjana. A Companion to Spanish Cinema. New York: John Wiley & Sons, 2015.
    Levy, Emanuel. Gay Directors, Gay Films?: Pedro Almodóvar, Terence Davies, Todd Haynes, Gus Van Sant, John Waters. New York: Columbia University Press, 2015.
    Lord, Carmen Belen. The New Art: Modernisme, in Barcelona and Modernity: Picasso, Gaudí, Miró, Dalí. New Haven: Yale University Press, 2006.
    McGuinness, Patrick. Symbolism, Decadence and the Fin de Siècle: French and European Perspectives. Exeter: University of Exeter Press, 2000.
    McHale, Brian. Postmodernist Fiction. London: Routledge, 2003.
    Mira, Alberto. Historical Dictionary of Spanish Cinema. Lanham: Scarecrow Press, 2010.
    Müller, Beate. Parody: Dimensions and Perspectives. Amsterdam: Rodopi, 1997.
    Nichols, William J. and Song, H. Rosi. Toward a Cultural Archive of la Movida: Back to the Future. Lanham: Rowman & Littlefield, 2013.
    Ordovás, Jesús. Historia de la música pop española. Madrid: Alianza, 1987.
    Pasco, Allan H. Allusion: A Literary Graft. Toronto: University of Toronto Press, 1994).
    Pavlović, Tatjana. 100 Years of Spanish Cinema. Hoboken: Wiley-Blackwell, 2009.
    Payne, Stanley G. The Spanish Civil War. Cambridge: Cambridge University Press, 2012.
    Perez-Sanchez, Gema. Queer Transitions in Contemporary Spanish Culture: From Franco to LA MOVIDA. New York: SUNY Press, 2012.
    Poplawski, Paul Encyclopedia of Literary Modernism. Westport: Greenwood Publishing Group, 2003.
    Poust, Alice Jan. Lorca, Buñuel, Dalí: Art and Theory. Bloomington: Bucknell University Press, 2001.
    Resina, Joan Ramon and Ingenschay, Dieter. After-images of the City. Ithaca: Cornell University Press, 2003.
    Rountree, Cathleen. The Movie Lover’s Club: How to Start Your Own Film Club. Novato: New World Library, 2011.
    Schwartz, Ronald. Great Spanish Films Since 1950. Lanham: Scarecrow Press, 2008.
    Simons, John D. Literature and Film in the Historical Dimension. Florida: University Press of Florida, 1994.
    Sobejano-Morán, Antonio. Metaficción española en la postmodernidad. Kassel: Reichenberger, 2003.
    Sotinel,Thomas. Pedro Almodóvar. Paris: Cahiers du cinéma, 2010.
    Stapell, Hamilton M. Remaking Madrid: Culture, Politics, and Identity after Franco. Basingstoke: Palgrave Macmillan, 2010.
    Taylor, Victor E. and Winquist, Charles E. Encyclopedia of Postmodernism. Hove: Psychology Press, 2003.
    Treglown, Jeremy. Franco's Crypt: Spanish Culture and Memory Since 1936. New York: Farrar, Straus and Giroux, 2013.
    Triana-Toribio, Núria. Spanish National Cinema. Abingdon: Routledge, 2012.
    Truscott, Sandra and Garcia, Maria. Dictionary of Contemporary Spain. New York: Routledge, 2012.
    Vernon, Kathleen M. and Morris, Barbara. Post-Franco, postmodern: the films of Pedro Almodóvar. Westport, Connecticut: Greenwood Press, 1995.
    Wheeler, Duncan and Canet, Fernando. (Re)viewing Creative, Critical and Commercial Practices in Contemporary Spanish Cinema. Bristol: Intellect Books, 2015.
    Yarza, Alejandro. Un Caníbal en Madrid: La Sensibilidad Camp y el Reciclaje de la Historia en el Cine de Pedro Almodóvar. Madrid: Ed. libertarias-Prodhufi, 1999.

    Journal Articles
    Bruno, Giuliana “Ramble City: Postmodernism and Blade Runner” October, 41 (1987): 61-74.
    Burke, Jessica. “Body, Performance, and Control in Pedro Almodóvar’s Hable con ella,” L’érudit franco-espagnol 2, Fall (2012): 117-126.
    Crawford, Chelsey. “The Permeable Self: A Theory of Cinematic Quotation Chelsey Crawford” Film-Philosophy Journal 19 (2015): 105-123.
    Has-Ellison, J. Trygve. “Nobles, Modernism, and the Culture of fin-de-siècle Munich,” German History, 26.1 (2008): 2-16.
    Piganiol, Marie. “Transgenderism and transsexuality in Almodóvar’s movies,” Amsterdam Social Science 1(2) (2009): 79-95.
    Rodríguez, Irina. “Intertextuality and Normalcy “Abnormality Trends in Almodóvar’s Films”,” destiempos Revista de curiosidad cultural 45 (2015): 100-127.

    Theses
    Cromb, Brenda. “Ambivalent Passion: Pedro Almodóvar’s postmodern melodramas.” BA Thesis, The University of Toronto, 2005.
    Garcés, Marcela Theresa. “(Re)membering the Madrid Movida: Life, Death, and Legacy in the Contemporary Corpus.” PhD Diss, The University of Minnesota, 2010.
    González, Paloma Caravantes. “Male Bodies in Pedro Almodóvar’s Filmography: Representations of White Masculinities in the Context of Contemporary Spanish Society.” MA Thesis, The University of Hull, 2012.
    Wardrop, Georgina. “Redefining Gender in Twenty-first Century Spanish Cinema: The Films of Pedro Almodóvar.” MA Thesis, University of Glasgow, 2011.
    Weaver, Mikaila. “The film of Pedro Almodóvar: ‘It Costs a Lot To Be Authentic, Ma’am.’” MA Thesis, University Honors, 2012.

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