Spanish Cinema 1973–2010

Maria M. Delgado is Professor of Theatre and Screen Arts at Queen Mary, University of London|Robin Fiddian is Professor of Spanish, Fellow of Wadham College, University of Oxford

• List of illustrationsNotes on contributors Acknowledgements Introduction – Maria M. Delgado 1. El espíritu de la colmena/ The Spirit of the Beehive (Víctor Erice, 1973): To Kill a Mocking Bird as neglected inter-text – Robin Fiddian 2. Cet obscur objet du désir/That Obscure Object of Desire (Luis Buñuel, 1977): Buñuel’s technique – Mark Millington 3. Ocaña. Retrat intermittent/Ocaña. An Intermittent Portrait (Ventura Pons, 1977): The Mediterranean movida and the passing away of Francoist Barcelona – Alberto Mira 4. El dorado (Carlos Saura, 1987): The keys to El Dorado – Agustín Sánchez Vidal 5. El sol del membrillo/The Quince Tree Sun (Víctor Erice, 1992): Moving pictures — painting, drawing and filmmaking – María José Martínez Jurico and Stephen G.H. Roberts 6. Vacas/Cows (Julio Medem, 1992): From Goya’s dining room via Apocalypse Now – Jo Evans 7. Tesis/Thesis (Alejandro Amenábar, 1996): Delights and follies in filmic discourse – María Donapetry 8. Un instante en la vida ajena/An Instant of Distant Life (José Luis López- Linares, 2003): Domesticating the documentary archive – Kathleen M. Vernon 9. Ninette (José Luis Garci, 2005): Paris revisited – Sue Harris 10. El laberinto del fauno/Pan's Labyrinth (Guillermo del Toro, 2006): Spanish horror – Paul Julian Smith 11. La noche de los girasoles/The Night of the Sunflowers (Jorge Sánchez-Cabezudo, 2006): Palimpsests of genre, palimpsests of violence – Tom Whittaker 12. En la ciudad de Sylvia/In the City of Sylvia (José Luis Guerín, 2007) and the durée of a derive – Rob Stone 13. Vicky Cristina Barcelona (Woody Allen, 2008): Penélope Cruz and Javier Bardem acting strangely – Chris Perriam 14. La mujer sin cabeza/The Headless Woman (Lucrecia Martel, 2008): Silence, historical memory and metaphor – Maria M. Delgado 15. Los abrazos rotos/ Broken Embraces (Pedro Almodóvar, 2009): Talking cures – Marvin D’Lugo 16. V.O.S. (Cesc Gay, 2009): From Shakespearean comedy to national identity – Celestino Deleyto 17. Y también la lluvia/Even the Rain (Icíar Bollaín, 2010): Social realism, transnationalism and (neo)colonialism – Duncan WheelerIndex

This exciting collection of essays from leading film scholars pays attention to the specificities of the Spanish cultural, social, political and aesthetic panorama (its ‘landscapes’), while also acknowledging the importance of shifting transnational contexts for studies of Spanish cinema. Theories of the auteur (developed and extended here) act as a guiding framework for the study of key films, many of which are being afforded scholarly treatments for the first time. This volume offers important observations on current trends, theories and revisionist approaches to Spanish cinema. Sarah Wright, Royal Holloway, University of London