Nobody Knows Anybody: Books on Spanish Cinema, Part Two

This is Part Two of the list that I started yesterday (see Part One here).

Part Two: Authors J (continued) - Z

Jordan, B. and R. Morgan-Tamosunas (1998) – Contemporary Spanish Cinema, Manchester & New York: Manchester University Press. 9780719044137

Covers the main trends and issues in Spanish film since the death of Franco in 1975 and principally focuses on the cinema of the 1980s and 1990s.

Labanyi, Jo and Tatjana Pavlović (ed.s) (2013) - A Companion to Spanish Cinema, Chichester: Wiley-Blackwell Publishing Ltd. ISBN: 9781405194389

The book takes a thematic approach with chapters divided into sections written by different authors - although the contents of the chapters generally progress chronologically (in terms of the history of Spanish cinema and also in their use of films as case studies), the range of authors (with distinct points of view) involved allows a multi-faceted take on Spanish cinema to develop. Each section includes a bibliography and there is also a 'further reading' list at the end of each chapter. I am using the same contents format as the book itself, so although the authors for each chapter are indicated, the titles of their individual sections are not given. Recommended (although from a library - much as I enjoyed reading it, I couldn't pay £120 for it).

1: Introduction - Jo Labanyi and Tatjana Pavlović

Part I: Reframing the National

2: Transnational Frameworks - Gerard Dapena, Marvin D'Lugo, and Alberto Elena

3: Echoes and Traces: Catalan Cinema, or Cinema in Catalonia - Brad Epps

4: Negotiating the Global and the Local: Andalusia, the Basque Country, and Galicia - José Colmeiro and Joseba Gabilondo

Part II: The Construction of the Auteur

5: Auteurism and the Construction of the Canon - Marvin D'Lugo and Paul Julian Smith

6: Strategic Auteurism - Antonio Lázaro-Reboll, Steven Marsh, Susan Martin-Márquez, and Santos Zunzunegui

Part III: Genre

7: Comedy and Musicals - Steven Marsh, Chris Perriam, Eva Woods Peiró, and Santos Zunzunegui

8: Melodrama and Historical Film - Jo Labanyi, Annabel Martín, and Vicente Rodríguez Ortega

9: Film Noir, the Thriller, and Horror - Jo Labanyi, Antonio Lázaro-Reboll, and Vicente Rodríguez Ortega

Part IV: Stars as Cultural Icons

10: The Construction of the Star System - Kathleen M. Vernon and Eva Woods Peiró

11: Stars, Modernity, and Celebrity Culture - Tatjana Pavlović, Chris Perriam, and Nuria Triana Toribio

Part V: Image and Sound

12: Photography, Production Design, and Editing - Vicente Sánchez-Biosca

13: Soundtrack - Román Gubern and Kathleen M. Vernon

Part VI: The Film Apparatus: Production, Infrastructure, and Audiences

14: Censorship, Film Studios, and Production Companies - Josetxo Cerdán, Román Gubern, Jo Labanyi, Steven Marsh, Tatjana Pavlović, and Nuria Triana Toribio

15: Film Clubs, Festivals, Archives, and Magazines - Ferran Alberich, Román Gubern, and Vicente Sánchez-Biosca

16: Audiences - Manuel Palacio and Kathleen M. Vernon

Part VII: Relations with Other Media

17: Cinema, Popular Entertainment, Literature, and Television - Sally Faulkner, Vicente Sánchez-Biosca, and Paul Julian Smith

Part VIII: Beyond the Fiction Film

18: Newsreels, Documentary, Experimental Film, Shorts, and Animation - Josetxo Cerdán and Vicente Sánchez-Biosca

Part IX: Reading Films Through Theory

19: Isabel Coixet's Engagement with Feminist Film Theory: From G (the Gaze) to H (the Haptic) - Susan Martin-Márquez

20: Becoming a Queer (M)Other in/and/through Film: Transsexuality, Trans-subjectivity, and Maternal Relationality in Almodóvar's Todo sobre mi madre - Julián Daniel Gutiérrez-Albilla

21: The Space of the Vampire: Materiality and Disappearance in the Films of Iván Zulueta - Brad Epps

Lázaro-Reboll, A. and A. Willis (ed.s) (2004) –Spanish Popular Cinema, Manchester & New York: Manchester University Press. 9780719062834

One of the few books on Spanish cinema that Manchester University Press deign to make available in paperback –take advantage of it!

• Introduction: film studies, Spanish cinema and questions of the popular –Antonio Lázaro-Reboll & Andrew Willis

• Dressing as foreigners: historical and musical dramas of the early Franco period –Federico Bonaddio

• From rags to riches: the ideology of stardom in folkloric musical comedy films of the late 1930s and 1940s –Eva Woods

• Spectacular metaphors: the rhetoric of historical representation in Cifesa epics –Alberto Mira

• Re-framing the past: representations of the Spanish Civil War in popular Spanish cinema –David Archibald

• ‘Palaces of Seeds’: from an experience of local cinemas in post-war Madrid to a suggested approach to film audiences –Esther Gómez-Sierra

• Populism, the national-popular and the politics of Luis García Berlanga –Steven Marsh

• Marisol: the Spanish Cinderella –Peter W. Evans

• Screening ‘Chicho’: the horror ventures of Narciso Ibáñez Serrador - Antonio Lázaro-Reboll

• Re-appraising Antonio Mercero: film authorship and intuición popular –Philip Mitchell

• Rated S: softcore pornography and the Spanish transition to democracy, 1977-82 –Daniel Kowalsky

• Alejandro Amenábar’s Abre los ojos / Open Your Eyes (1997) –Chris Perriam

• Solas and the unbearable condition of loneliness in the late 1990s –Candyce Leonard

• From the margins to the mainstream: trends in recent Spanish horror cinema –Andrew Willis

Marsh, S. and P. Nair (ed.s) (2004) –Gender and Spanish Cinema, Oxford & New York: Berg. 9781859737910

• Introduction –Steven Marsh & Parvati Nair

• Between the Phobic Object and the Dissident Subject: Abjection and Vampirism in Luis Buñuel’s Viridiana –Julián Daniel Gutiérrez-Albilla

• Costume, Identity and Spectator Pleasure in Historical Films of the Early Franco Period –Jo Labanyi

• Masculinity, Monuments and Movement: Gender and the City of Madrid in Pedro Almodóvar’s Carne trémula (1997) –Steven Marsh

• Madness, Queenship and Womanhood in Orduña’s Locura de amor (1948) and Aranda’s Juana la loca (2001) –Celia Martín Pérez

• New Sexual Politics in the Cinema of the Transition to Democracy: de la Iglesia’s El diputado (1978) –Alejandro Melero Salvador

• Borderline Men: Gender, Place and Power in Representations of Morrocans in Recent Spanish Cinema –Parvati Nair

• A Psychoanalysis of La mujer más fea del mundo (1999) –Eva Parrondo Coppel

• Gender and the Spanish Horror Film –Tatjana Pavlovic

• Heterosociality in Segunda piel (Gerardo Vera, 2000) and Sobreviviré (Alfonso Albacete & David Menkes, 1999): Strong Women, or the same old story? –Chris Perriam

• ¡Victoria? A Modern Magdelene –Rob Stone [about Victoria Abril]

• Theatricality, Melodrama and Stardom in El ultimo cuplé –Kathleen M. Vernon

• Radio Free Folklóricas: Cultural, Gender and Spatial Hierarchies in Torbellino (1941) –Eva Woods

Mira, A. (ed.) (2005) –The Cinema of Spain and Portugal, London & New York: Wallflower Press. 9781904764441

Article-length critical analyses of key films from the two cinemas.

• Preface –Román Gubern

• Introduction –Alberto Mira

• La aldea maldita / The Cursed Village –Agustín Sánchez Vidal

• A canção de Lisboa / Song of Lisbon –Lisa Shaw

• La verbena de la paloma / Fair of the Dove –Alberto Mira

• Aniki-Bóbó –Randal Johnson

• Los últimos de Filipinas / Last Stand in the Philippines –Isabel Santaolalla

• Lola la piconera / Lola the Coalgirl –Alberto Mira

• Marcelino pan y vino / The Miracle of Marcelino –Ryan Prout

• Calle Mayor / Main Street –Mark Allinson

• El ultimo cuplé / The Last Torch Song –Chris Perriam

• Viridiana –Peter Evans

• El verdugo / The Executioner –Alberto Mira

• El extraño viaje / Strange Journey –Alberto Mira

• La noche de Walpurgis / Shadow of the Werewolf –Antonio Lázaro-Reboll

• El espíritu de la colmena / Spirit of the Beehive –Xon de Ros

• Cría cuervos / Raise Ravens –Ryan Prout

• El diputado / Confessions of a Congressman –Ryan Prout

• Arrebato / Rapture –Vicente Sánchez Biosca

• Los santos inocentes / The Holy Innocents –Elena Carrera

• João de deus trilogy / Trilogy of John of God –Lúcia Nagib

• Belle epoque –Alberto Mira

• Viagem ao princípio do mundo / Journey to the Beginning of the World –Randal Johnson

• Torrente: el brazo tonto del ley / Torrente: the Dumb Arm of the Law and Torrente 2: Misión en Marbella / Torrente 2: Mission in Marbella –Antonio Lázaro-Reboll

• Todo sobre mi madre / All About My Mother – Mark Allinson

• Lucía y el sexo / Sex and Lucía –Paul Julian Smith

Mira, A. (2010) -The A-Z of Spanish Cinema, Plymouth: The Scarecrow Press, Inc. ISBN: 9780810876224.
The book starts with a chronology of Spanish cinema between 1896 and 2008, then has a fairly substantial introductory chapter before moving onto the dictionary proper. The dictionary includes entries on key films, themes (including specifically Spanish terms such as costumbrismo), directors, writers, producers, and actors. But I think that the crowning glory is the 94-page bibliography; it is the most extensive and exhaustive bibliography on Spanish cinema that I've ever come across. The bibliography is divided into several sections (some items appear in more than section): General and Reference; Origins and Silent Years (1896-1931); Republican Period and the Civil War (1931-1939); Early Francoism (1939-1960); The Desarrollismo Period and Late Francoism (1961-1975); Transition Period and Socialist Change (1975-1990); Recent Spanish Cinema (from 1990); Specific Filmmakers; Legislation and Economy; Autonomous Regions; Journals; Internet Sites. If you're researching / interested in specific periods of Spanish cinema, or specific Spanish filmmakers, this book would be an excellent starting point.
Recommended.

Perriam, C. (2003) – Stars and Masculinities in Spanish Cinema: From Banderas to Bardem, Oxford: Oxford University Press. 9780198159964

The only book-length (published) study of Spanish stars. This is where you start if you’re studying Spanish stardom / Spanish actors –highly recommended. Has chapters on six established (at the time of his writing) stars (Imanol Arias, Antonio Banderas, Carmelo Gómez, Javier Bardem, Jordi Mollá, and Jorge Sanz) and one chapter that has a briefer look at four up-and-coming actors (Eduardo Noriega, Fele Martínez, Liberto Rabal, and Juan Diego Botto).

Pohl, B. And J. Türschmann (ed.s) (2007) –Miradas glocales: Cine español en el cambio de milenio, Madrid: Iberoamericana. 9788484893028

Another one of my lucky blind buys –looks at the issue of the concept of ‘national’ cinemas in an era of the transnational from a range of different perspectives.

• Miradas con horizantes –Carlos F. Heredero

• Introducción –Burkhard Pohl & Jörg Türschmann

• 1. Panoramas

• Miradas hacia el cine español contemporáneo –José Enrique Monterde

• Cuando Nueva York imitó a Madrid. Perfiles de la capital en el cine español de los años noventa –Ralf Jünkerjurgen

• El documental español del tercer milenio: las formas de la transgresión –Jean-Claude Seguin

• 2. La violencia y lo cómico

• La violencia enfocada: tres visiones cinematográficas españolas. La muerte de Mikel (1983) de Imanol Uribe, Historias del Kronen (1994) de Montxo Armendáriz y El Bola (2000) de Achero Mañas –Dagmar Schmelzer

• Memoria histórica de la Guerra Civil y esteticismo de la violencia: los discursos de erotismo y poder en El mar de Agustí Villaronga (1999) –Bernhard Chappuzeau

• Otra proyección de Días de fútbol (David Serrano, 2003): entre el sainete y la repesca de landismo –Ana Luengo

• El lado oscuro de la nación: La comunidad (Álex de la Iglesia, 2000) –Burkhard Pohl

• 3. Migración y transculturalidad

• La “hispanización” del cine español –Isabel Santaolalla

• El último viaje de Robert Rylands (Gracia Querejeta, 1996): ¿coproducción europea o desplazamiento de identidades nacionales? –Annegret Thiem

• “Contamíname…mézclate conmigo”: Limites y transgresiones en Alma Gitana (Chus Gutiérrez, 1995) y Flores del otro mundo (Icíar Bollaín, 1999) –Camila Damerau

• Los movimientos migratorios y el miedo del Otro en Poniente (Chus Gutiérrez, 2002) –Verena Berger

• 4. Cine intimista

• Fernando León de Aranoa, autor de un género: cámaras intimistas sobre la marginalidad en el cine español –Pietsie Feenstra

• Julio Medem: la imagen conmovida, líneas de fuga, la imagen-tiempo: La ardilla roja (1993) y Los amantes del Círculo Polar (1998) –Teresa Delgado

• Lo que quedó enterrado: transgresiones de tabúes sociales en La mala educación (Pedro Almodóvar, 2004) y Mar adentro (Alejandro Amenábar, 2004) –Susanne Igler

• Isabel Coixet y su vida sin mí –Isabel Maurer Queipo

• 5. Remake, intertextualidad, intermedialidad

• Acerca de la internacionalidad en La pistola de mi hermano (1997) de Ray Loriga y su modelo literario Caídos del cielo –Adelaida Caro Martín

• Batallas de recuerdo. La memoria de la Guerra Civil en Land and Freedom (Ken Loach, 1995) y Soldados de Salamina (David Trueba, 2002) –Hanno Ehrlicher

• El embrujo de Shanghai de Juan Marsé: hechizo y contrahechizo en las adaptaciones de Fernando Trueba (2002) y Víctor Erice (2001) –Silke Steimer

• Universos pictóricos y el arte cinematográfico de Icíar Bollaín en Te doy mis ojos (2003) –María Jesús Beltrán Brotons

• Cine y nacionalidad: el caso del remake –Nancy Berthier

Quintana, Á. (2001) –‘El cine como realidad y el mundo como representación: algunos síntomas de los noventa’, Archivos de la filmoteca, no.39, October, pp.8-25. [Added 14th June 2011]
[Taken from the official abstract] In contrast to traditional discussions of film and history, the author takes the concept of historicity to examine the relationship between thought, culture, and art at a specific moment in the history of cinema. As point of departure, the article takes the commonly cited crisis of reality in Spanish cinema of the 1990s, in particular three significant cultural phenomena: the identity crisis, excessive images of violence, and the transformation of the world into a gigantic Platonic cave. These phenomena are observed in the various models of Spanish film of the 1990s, where a new generation of filmmakers aim to situate their films within the cultural logic of postmodernity. The author affirms that representative figures in Spanish film are a symptom of the global crisis of the real that is affecting the world, dominated by a loss of faith in the media and the creation of new spatial and temporal dimensions in a virtual sphere.

Quintana, Á. (2005) – ‘Modelos realistas en un tiempo de emergencia de lo político’, Archivos de la Filmoteca, No.49, February, pp.10-31.

[from the official abstract] Towards the close of the 1990s, a time in which post-modern cinema regarded reality as suspect, a certain tendency towards realism arose in Spanish cinema. The works of Fernando León de Aranoa, Icíar Bollaín, Archero Mañas and Benito Zambrano lead the way to a timid form of realism based on the creation of a social context and the accentuation of certain effects of reality. This path to realism is situated in a moment in history that contemplates a kind of return to politics, understood as a form of participation of the subject in the public sphere. To what degree does Spanish cinema participate in this path towards politics? This article aims to answer that question through an analysis of a number of examples of recent fictional cinema such as León de Aranoa’s Los lunes al sol and Alejandro Amenábar’s Mar adentro, along with some examples of documentary cinema.

Resina, J.R. (ed) (2008) -Burning Darkness: A Half Century of Spanish Cinema, Albany, NY: State University of New York Press. ISBN: 978-0791475041

A collection that covers an interesting range of films with the aim of contributing to the as-yet still scarce range of English-language analytical resources that address Spanish cinema. The selection of films and directors has been done so as to span 'the period from the origins of the New Spanish Cinema in the 1950s to the end of the twentieth century' (p.1). [ADDED 05/11/11]

Introduction -Joan Ramon Resina
1. Rehearsing for Modernity in ¡Bienvenido, Mister Marshall! (Luis García Berlanga, 1952) -Eva Woods Peiró
2. Existential Crossroads in Muerte de un ciclista (Juan Antonio Bardem, 1955) -Andrés Lima-Hincapié
3. Viridiana Coca-Cola (Luis Buñuel, 1961) -Tom Conley
4. El espíritu de la colmena: Memory, Nostalgia, Trauma (Víctor Erice, 1973) -Chris Perriam
5. A Poetics of Splitting: Memory and Identity in La prima Angélica (Carlos Saura, 1974) -Ángel Quintana
6. Ambiguous Disenchantment in El corazón del bosque (Manuel Gutiérrez Aragón, 1979) -Irení Depetris-Chauvin
7. Los paraísos perdidos: Cinema of Return and Repetition (Basilio Martín Patino, 1985) -Tatjana Pavlović
8. (M)Othering Strategies in El pájaro de la felicidad (Pilar Miró, 1993) -Jaume Martí-Olivella
9. Abjection, Trauma, and the Material Image: La madre muerta (Juanma Bajo Ulloa, 1993) -Jo Labanyi
10. The Catalan Body Politic as Aired in La teta i la lluna (Bigas Luna, 1994) -Dominic Keown
11. Genre and Screen Violence: Revisiting Tesis (Alejandro Amenábar, 1995) -Barry Jordan
12. Conceptualizing "the Impact" in Los amantes del Círculo Polar (Julio Medem, 1998) -Robert A. Davidson
13. Immortal/Undead: The Body and the Transmission of Tradition in Amic/Amat (Ventura Pons, 1998) -Josep-Anton Fernández
14. Imitation of Life: Transsexuality and Transtextuality in Todo sobre mi madre (Pedro Almodóvar, 1999) -Esteve Riambau
15. The Construction of the Cinematic Image: En construcción (José Luis Guerín, 2000) -Joan Ramon Resina

Santaolalla, I. (2005) – Los «Otros»: Etnicidad y «raza» en el cine español contemporáneo, Zaragoza & Madrid: Prensas Universitarias de Zaragoza and Ocho y Medio, Libros de Cine. 9788477337539

Considers ‘Otherness’ and issues of ethnicity and race in relation to contemporary Spanish films (including Alma gitana (Chus Gutiérrez, 1995), Bwana (Imanol Uribe, 1996), Flores del otro mundo (Icíar Bollaín, 1999), En la puta calle (Enrique Gabriel, 1996), El espinazo del diablo (Guillermo del Toro, 2001), and Lejos de África (Cecilia Bartolomé, 1996)).

Smith, P.J. (2003), Contemporary Spanish Culture: TV, Fashion, Art and Film, Cambridge: Polity Press. 9780745630533

The film section of the book looks at Catalan independent cinema (specifically the work of Ventura Pons) and how Pedro Almodóvar resurrected the art film (focusing on La flor de mi secreto (1995), Carne trémula (1997), and Todo sobre mi madre (1999)).

Stone, R. (2001) – Spanish Cinema, Harlow: Longman. 9780582437159

This offers a broad introduction to Spanish cinema, from the Franco years to ‘the present’. Includes sections on early Spanish cinema and Basque cinema, as well as case studies of filmmakers who are emblematic of different eras of Spanish cinema (specifically Carlos Saura, Elias Querejeta, and Julio Medem). Also has a chapter on Spanish stardom, with Antonio Banderas, Victoria Abril, Javier Bardem, and Penélope Cruz as the case studies.

Torres Hortelano, L.J. (ed.) (2011) - Directory of World Cinema: Spain, Bristol: Intellect. ISBN: 9781841504636 [Added 16th October 2011]

This is more a book to dip in and out of rather than to read cover to cover (I haven't read all of it yet), but it's probably a good starting point for someone who is interested in watching Spanish films but doesn't know where to begin. As is often the case with books with multiple contributors (70, in this case), the style and quality of the writing is variable (some of the reviews lean towards the descriptive rather than the analytical, others seem to have suffered in translation), but an interesting aspect to the collection of contributors is how many of them are Spanish; it is relatively rare to see Spanish views on Spanish cinema published in English. Overall, a good introduction to the variety that Spanish cinema has to offer, but more of a starting point for further investigation than a one-stop-shop.

I'm including the (original) film titles of those reviewed in the various sections (but not the contributor names because of the vast number).

Introduction by the Editor

Film of the Year: Biutiful

Interview with Jaime Rosales

Industry Spotlight: Spanish Film Production

Cultural Crossover

-Influence of European Avant-garde

-Representations of Violence

-Don Quixote Visual Ridings

Festival Focus

-Semana de Cine Experimental de Madrid / Experimental Film Week of Madrid

Film Location: Madrid

Directors:

-Edgar Neville

-Fernando Fernán-Gómez

-Carlos Saura

-Victor Erice

-Pedro Almodóvar

Auteur Melodrama / Melodrama de autor

-Essay

-Reviews (Jamón, jamón (Bigas Luna, 1992), Todo sobre mi madre (Almodóvar, 1999), Cielo negro (Mur Oti, 1951), Caótica Ana (Medem, 2007), La vida mancha (Urbizu, 2003), My Life Without Me (Coixet, 2003), La ardilla roja (Medem, 1993), The Secret Life of Words (Coixet, 2005), Things I Never Told You (Coixet, 1996), Las voces de la noche (García Ruiz, 2003)).

Grotesque Comedy / Esperpento

-Essay

-Reviews (Amanece, que no es poco (Cuerda, 1988), Atraco a las tres (Forqué, 1962), Belle epoque (Trueba, 1992), El verdugo (García Berlanga, 1963), El milagro de P Tinto (Fesser, 1998), La escopeta nacional (García Berlanga, 1978), Plácido (García Berlanga, 1961), La linea del cielo (Colomo, 1983), El extraño viaje (Fernán-Gómez, 1964), Los tramposos (Lazaga, 1959)).

Iberian Drama

-Essay

-Reviews (Solas (Zambrano, 1999), Alas de mariposa (Bajo Ulloa, 1991), En la ciudad sin límites (Hernández, 2002), Flores del otro mundo (Bollaín, 1999), La casa de Bernarda Alba (Camus, 1987), La caza (Saura, 1965), Los lunes al sol (León de Aranoa, 2002), Poniente (Gutiérrez, 2002), La soledad (Rosales, 2007), Viridiana (Buñuel, 1961)).

Musical (But Not Only Flamenco...)

-Essay

-Reviews (¡Ay, Carmela! (Saura, 1990), Morena clara (Rey, 1936), Flamenco (Saura, 1995), La niña de tus ojos (Trueba, 1998), Pena, penita, pena (Morayta, 1953), El otro lado de la cama (Martínez Lázaro, 2002), Shirley Temple Story (Padrós, 1976), Canciones para después de una guerra (Patino, 1976), Embrujo (Serrano de Osma, 1946)).

Period Films / De época

-Essay

-Reviews (Alatriste (Díaz Yanes, 2006), Bocage (Leitão de Barros, 1936), Vacas (Medem, 1992), El perro del hortelano (Miró, 1996), Honor de cavalleria (Serra, 2006), Los últimos de Filipinas (Román, 1945), Locura de amor (Orduña, 1948), Nuestra Señora de Fátima (Gil, 1951), Sin novedad en el Alcázar (Genina, 1940), You Are the One (Una historia de entonces) (Garci, 2000)).

Dictatorship Forgotten Cinema

-Essay

-Reviews (Un hombre va por el camino (Mur Oti, 1949), Carmen fra i rossi (Neville, 1939), Surcos (Nieves Conde, 1951), La vida en un hilo (Neville, 1945), Calle Mayor (Bardem, 1956), Marcelino pan y vino (Vajda, 1955), El clavo (Gil, 1944), Historias de la radio (Sáenz de Heredia, 1955), El espíritu de la colmena (Erice, 1973), Vida en sombras (Llobet Gracia, 1948)).

The Transition to Democracy Cinema / Cine de la Transición

-Essay

-Reviews (El desencanto (Chávarri, 1976), El bosque animado (Cuerda, 1987), Los santos inocentes (Camus, 1984), La vieja memoria (Camino, 1979), Furtivos (Borau, 1975), Arrebato (Zulueta, 1979), Los restos del naufragio (Franco, 1978), 7 días de enero (Bardem, 1979), Habla, mudita (Gutiérrez Aragón, 1973), El viaje a ninguna parte (Fernán-Gómez, 1986)).

Crime and Thriller

-Essay

-Reviews (Angustia (Bigas Luna, 1987), Bilbao (Bigas Luna, 1978), Domingo de carnaval (Neville, 1945), Muerte de un ciclista (Bardem, 1955), El cebo (Vajda, 1958), Nadie hablará de nosotras cuando hayamos muerto (Díaz Yanes, 1995), Los peces rojos (Nieves Conde, 1955), Soldados de Salamina (Trueba, 2003), Tesis (Amenábar, 1996), Los cronocrímenes (Vigalondo, 2007)).

Fantasy and Horror

-Essay

-Reviews (El día de la bestia (de la Iglesia, 1995), El espinazo del diablo (del Toro, 2001), La Residencia (Ibáñez Serrador, 1969), Acción mutante (de la Iglesia, 1993), El orfanato (Bayona, 2007), The Others (Amenábar, 2001), El laberinto del fauno (del Toro, 2006), La cabina (Mercero, 1972), [Rec] (Balagueró and Plaza, 2007), La torre de los siete jorobados (Neville, 1944)).

Experimental Documentary

-Essay

-Reviews (El cant dels ocells (Serra, 2008), Contactos (Viota, 1970), El sol del membrillo (Erice, 1992), En la ciudad (Gay, 2003), Las Hurdes. Tierra sin pan (Buñuel, 1933), Die stille vor Bach (Portabella, 2007), Tren de sombras: El espectro de Le Thuit (Guerín, 1997), Umbracle (Portabella, 1972), Un chien andalou (Buñuel, 1929), Aguaespejo granadino (Val de Omar, 1953-1955)).

Friday, 15 April 2011

Books on Spanish Cinema, Part Two