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Quarterly Review of Film and Video Volume 37, 2020 - Issue 4
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ARTICLES

Sculpting Women: From Pygmalion to Vertigo to The Skin I Live In

Jesse BarkerCorrespondence[email protected]
ORCID Iconhttp://orcid.org/0000-0001-7068-1217View further author information
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Pages 299-327 | Published online: 12 Aug 2019

Works Cited

  • Aldana Reyes, Xavier. Skin Deep? Surgical Horror and the Impossibility of Becoming Woman in Almodóvar’s The Skin I Live In. Bulletin of Hispanic Studies 90:7 (2013), 819–34.
  • Antony and the Johnsons. “For Today I am a Boy.” I Am a Bird Now (London, UK: Rough Trade Records, 2004).
  • Barker, Jesse. “Synthetic Skins: Mercedes Cebrián’s La Nueva Taxidermia (The New Taxidermy) and Pedro Almodóvar’s La Piel que Habito (The Skin I Live In).” Affect and Belonging in Contemporary Spanish Fiction and Film: Crossroads Visions (Basingstoke, UK: Palgrave Macmillan, 2017).
  • Boileau, Pierre, and Narcejac, Thomas. Vertigo [original title: D’Entre les Morts or The Living and the Dead], translated by Geoffrey Sainsbury (Mattituck, NY: Amereon House, 2011).
  • Bourgeois, Louise. Self-Portrait, 1990. Aquatint, etching and drypoint on paper. Museum of Modern Art, New York.
  • Butler, Judith. Gender Trouble: Feminism and the Subversion of Identity (New York, NY: Routledge, 1990).
  • Cohen, Paula Marantz. “Hitchcock’s Revised American Vision: The Wrong Man and Vertigo.” Hitchcock's America, edited by Jonathan Freedman and Richard Millington (Oxford, UK: Oxford University Press, 1999), pp. 146–61.
  • Delgado, Maria. Flesh and the Devil. Sight and Sound 21:9 (2011), 18–22.
  • De Laurentis, Teresa. Alice Doesn't: Feminism, Semiotics, Cinema (Bloomington, IN: Indiana University Press, 1984).
  • D’Lugo, Marvin, and Vernon, Kathleen M. Introduction: “The Skin He Lives In.” A Companion to Pedro Almodóvar (Malden, UK: Blackwell, 2013), pp. 1–17.
  • Fabe, Marilyn. Mourning Vertigo. American Imago 66:3 (2009), 343–67.
  • Glenn, Colleen. The Traumatized Veteran: A New Look at Jimmy Stewart's Post-WWII Vertigo. Quarterly Review of Film and Video 31:1 (2014), 27–41.
  • Hollinger, Karen. The Look, Narrativity, and the Female Spectator in Vertigo. Journal of Film and Video 39:4 (1987), 18–27.
  • James, Paula. She’s All That: Ovid’s Ivory Statue and the Legacy of Pygmalion on Film. Classical Bulletin 79:1 (2003), 63–91.
  • Jonquet, Thierry. Mygale, translated by Donald Nicholson-Smith (San Francisco, CA: City Lights Books, 2003).
  • Jung, Dongsup. Yuxtaposición Artística en La Piel que Habito de Pedro Almodóvar: En Torno a las Obras de Tiziano, Louise Bourgeois, Guillermo Pérez Villalta y Juan Gatti. Neophilologus 98 (2014), 617–35.
  • Kercher, Dona. “Almodóvar and Hitchcock: A Sorcerer’s Apprenticeship.” A Companion to Pedro Almodóvar, edited by Marvin D’Lugo and Kathleen Vernon (Chichester, UK: Blackwell Publishing, 2013), pp. 59–87.
  • Lange-Churión, Pedro. Pedro Almodóvar's La Piel Que Habito: Of Late Style and Erotic Conservatism. Bulletin of Spanish Studies 93:3 (2015), 441–53.
  • Lemma, Alessandra. A Perfectly Modern Frankenstein: Almodóvar’s The Skin I Live In (2011, Sony Picture Classics). International Journal of Psychoanalysis 93 (2012), 1291–1300.
  • Linderman, Deborah. The Mise-en-Abîme in Hitchcock’s Vertigo. Cinema Journal 30:4 (1991), 51–74.
  • Marcantonio, Carla. Cinema, Transgenesis, and History in The Skin I Live In. Social Text 33:1 (2015), 49–70.
  • Martin-Márquez, Susan. Pedro Almodóvar’s Maternal Transplants: From Matador to All About My Mother. Bulletin of Hispanic Studies 81:4 (2004), 498–509.
  • Modleski, Tania. The Women Who Knew Too Much: Hitchcock and Feminist Theory (New York, NY: Methuen, 1988).
  • Munro, Alice. Too Much Happiness [short story]. Too Much Happiness (London, UK: Chatto & Windus, 2009), 246–303.
  • Mulvey, Laura. “Visual Pleasure and Narrative Cinema.” Film Theory and Criticism: Introductory Readings, edited by Leo Braudy and Marshall Cohen (Oxford, UK: Oxford University Press, 1999), 833–44.
  • Rancière, Jacques. “Cinematic Vertigo: Hitchcock to Vertov and Back.” Intervals of Cinema, translated by John Howe (London, UK: Verso, 2014, pp. 19–39).
  • Ravetto-Biagioli, Kriss. Vertigo and the Vertiginous History of Film Theory. Camera Obscura 25:3 (2011), 100–41.
  • Saz, Sara M. “Mujeres Al Borde De Un Ataque De Nervios: Elementos Subversivos.” Actas Del XI Congreso De La Asociación Internacional De Hispanistas. (Irvine, CA: University of California–Irvine, 1992), 149–157. <https://cvc.cervantes.es/literatura/aih/pdf/11/aih_11_2_018.pdf>
  • Smith, Paul Julian. Pedro Almodóvar. A Companion to Spanish Cinema, edited by Jo Labanyi and Tatjana Pavlović (Malden, UK: Blackwell, 2013), 150–54.
  • Spinks, Randall. The Hallucinatory (Cultural) Logic of Hitchcock's Vertigo. Quarterly Review of Film and Video 34:3 (2017), 212–42.
  • Titian. Venus of Urbino. 1534. Oil on canvas, Galleria degli Uffizi, Florence.
  • Wexman, Virginia Wright. The Critic as Consumer: Film Study in the University, Vertigo, and the Film Canon. Film Quarterly 39:3 (1986), 32–41.
  • White, Rob, and Smith, Paul Julian. Escape Artistry: Debating “The Skin I Live In.” Film Quarterly (12 October 2011). <https://filmquarterly.org/2011/10/12/escape-artistry-debating-the-skin-i-live-in/>
  • White, Susan. “Vertigo and Problems of Knowledge in Feminist Film Theory.” Alfred Hitchcock: Centenary Essays, edited by Richard Allen and S. Ishii-Gonzales (London: British Film Institute, 1999), 279–306.
  • Weisel-Barth, Joye. The Fetish in Nicole Krauss’ Great House and in Clinical Practice. Psychoanalytic Dialogues 23:2 (2103), 180–196.
  • Wye, Deborah. Louise Bourgeois. Femme Maison. 1946–1947. Audio Guide to exhibition Louise Bourgeois: An Unfolding Portrait, 24 September 2017–28 January 2018. The Museum of Modern Art. https://www.moma.org/audio/playlist/42/665.
  • Zhuravsky, Mark. NYFF ‘11: Pedro Almodóvar Talks the Identity and Gender Themes of “The Skin I Live In.” Indiewire (13 October 2011). <www.indiewire.com/2011/10/nyff-11-pedro-almodovar-talks-the-identity-and-gender-themes-of-the-skin-i-live-in-115812/>
  • Žižek, Slavoj. Vertigo: The Drama of a Deceived Platonist. Hitchcock Annual 12 (2003/2004), 67–83.

Filmography

  • All About My Mother. Dir. Pedro Almodóvar. El Deseo, 1999.
  • Eyes Without a Face. Dir. Georges Franju. Champs-Élysées Productions, 1960.
  • Kika. Dir. Pedro Almodóvar. El Deseo, 1993.
  • Marnie. Dir. Alfred Hitchcock. Universal, 1964.
  • Metropolis. Dir. Fritz Lang. Universum Film, 1927.
  • Rear Window. Dir. Alfred Hitchcock. Paramount, 1954.
  • Room in Rome. Dir. Julio Medem. Alicia Produce, 2010.
  • Sex and Lucia. Dir. Julio Medem. Alicia Produce, 2001.
  • The Skin I Live in. Dir. Pedro Almodóvar. El Deseo, 2011.
  • Tie Me Up! Tie Me Down! Dir. Pedro Almodóvar. El Deseo, 1989.
  • Vertigo. Dir. Alfred Hitchcock. Universal, 1958.
  • Women on the Verge of a Nervous Breakdown. Dir. Pedro Almodóvar. El Deseo, 1989.

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