The music of Alberto Iglesias in the films of Pedro Almodóvar: intertextual dialogue and negotiating identities in La piel que habito (2011)

• Autores: Alberto Jiménez Arévalo
• Localización: The Routledge Handbook to Spanish Film Music / Laura Miranda González (ed. lit.), 2024, ISBN 9781003174974, págs. 294-304
• Idioma: español
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• Resumen

  • The music used in the soundtrack of The Skin I Live In forms an essential part of the film's audiovisual discourse, filling it with meaning and providing it with a multitude of nuances, references and interpretations. On the one hand, Almodóvar's film reflects the postmodern trend to blend cinema genres together, such as the fantasy thriller and the sub-genre of the mad doctor. However, with its sights set firmly on the film Face Without Eyes (Les Yeux sans visage, 1960) by Georges Franju and the noir novel Tarantula (Mygale, 1984) by Thierry Jonquet, The Skin I live In is a superb exercise in “trans,” as not only does it alight on trans-genre, transgender and transsexual issues, it is also equally full of transtextual allusions, particularly in its music. The conscious use of the work of certain artists in general, and that of Louise Bourgeois in particular, plays a fundamental role in the narrative, establishing a series of relationships that are analysed in this chapter. The painstaking choices made regarding the audio and visual elements surrounding the characters, and the meticulous use of flashbacks and flash forwards, the interpretation based on queer and gender theories, and the search for scientific verisimilitude, all play their part in making The Skin I Live In an audiovisual palimpsest that allows for multiple readings, in which a wide range of details converge to add further layers to the narrative, giving shape to a unique piece of work within the Almodóvar universe, one in which music plays a central role.