13. Re-envoicements and Reverberations in Almodóvarós Macro-Melodrama

  1. Marvin D'Lugo and
  2. Kathleen M. Vernon
  1. Marsha Kinder

Published Online: 21 FEB 2013

DOI: 10.1002/9781118325360.ch13

A Companion to Pedro Almodóvar

A Companion to Pedro Almodóvar

How to Cite

Kinder, M. (2013) Re-envoicements and Reverberations in Almodóvarós Macro-Melodrama, in A Companion to Pedro Almodóvar (eds M. D'Lugo and K. M. Vernon), Blackwell Publishing Ltd, Oxford. doi: 10.1002/9781118325360.ch13

Publication History

  1. Published Online: 21 FEB 2013
  2. Published Print: 15 APR 2013

ISBN Information

Print ISBN: 9781405195829

Online ISBN: 9781118325360

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Keywords:

  • Almodóvar;
  • cinema;
  • dubbing;
  • intertexts;
  • macro-melodrama;
  • maternal voice;
  • re-envoicement;
  • retro-seriality;
  • reverberations;
  • sound

Summary

This essay explores Almodóvar's use of sound and its larger cultural and social reverberations, emphasizing key moments in five films that marked crucial transitions in his career: Laberinto de pasiones, Mujeres al borde de un ataque de nervios, La flor de mi secreto, Hable con ella, and Los abrazos rotos. In Laberinto's metro scene, the musical intertextuality makes us think more about the setting - about the differences between Rome and Madrid. The chapter discusses the role played by maternal voice in subject formation in La flor de mi secreto. Los abrazos rotos reveals Almodóvar's nagging desire to keep revisiting and improving what he has already done - a desire that explains his increasing fascination with “retro-seriality” and “macro-melodrama.”