Ideally I would like to have my video speak for itself, but in case my incoherent rambling doesn’t seem to be articulated well enough in the video below, I’d like to explain that this will be the first in a hopefully long-running series of video essays on the art of Cinema.
With my school semester (and Junior year of undergraduate school) coming to a close, I will start tackling new and different topics. Consequently, I am turning a page in my passion for film academia and am going to start my series “Connect The Dots”, in which I will cover contemporary and classic cinema, finding similarities and drawing conclusions that will hopefully not consist of me blatantly talking out of my self-entitled ass for hours on end.
My favorite video essayist, Tony Zhou recently posted a twitter status that I whole-heartedly agreed with. In it, he explained that most video essays tackle the same 10 directors (Kubrick, Tarantino, Anderson, etc.) and that there are many greats who still need to be explored. As a nod to Zhou, my first essay will be discussing the work of an artist he would like to see more analyses on: Pedro Almodovar. In fact, I decided to analyze an Almodovar picture that isn’t as highly regarded as most of his others, but in many ways is an underrated gem in my eyes.
This video will discuss the film The Skin I Live In, and how Pedro Almodovar uses his film form to deconstruct heteronormative thought by subverting the narrative of George Franju’s horror classic Eyes Without A Face.
This will probably be my last analysis of gender and sexuality in film for a long while. I believe there are many other beautiful facets of cinema that deserve attention, and I will probably start focussing on those from now on. Having said that, I thank you for having stuck with me and read my blog. Now bear with me for another 10 minutes and enjoy my analysis of this Spanish mystery thriller.
Hope you enjoy!