Dolor y gloria
in The cinema of Pedro Almodóvar
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This afterword analyses Dolor y gloria as the culmination of Almodóvar’s career. Cinematic excess is used to foreground the poetic function and memory is presented as dynamic. Mise-en-abyme, self-referentiality, circularity, and fragmentation encourage the formation of multiple memories and open a critique of the creation of these same comforting memories. The film uses autofiction and autobiographical material to explore trauma in relation to the LGBTQ+ experience and as a way to muse on fiction and memory as productive, whether they become restorative or not. Composed of multiple flashbacks, the film encourages retrospective interpretation through its mise-en-abyme. This chapter analyses the film-within-a-film (a recurrent feature in Almodóvar’s cinema) and its relationship to the main narrative and to autobiographical interpretations of Dolor y gloria. It argues that there is no strong autobiographical correspondence between Almodóvar and the main character Salvador. Whereas Salvador may be making autobiographical or autofictional cinema, Dolor y gloria manages to explore these genres whilst affirming the role of cinema as fiction that explores emotional truths which, in departing from factual detail, may achieve a closer portrayal of experience. This is in line with Almodóvar’s frequent use of prosthetic memory and films as memory texts and offers an alternative form for the exploration of situated identity to artists, an alternative that may be particularly important to LGBTQ+ artists whose work is frequently pegged to their identity.


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