Table of Contents

Notes On Contributors Preface bv Roman Gubern Introduction by Alberto Mira 01 La Aldea Maldita / The Cursed Village Agustin Sanchez Vidal 02 A Cancao de Lisboa / Song of Lisbon Lisa Shaw 03 La Verbena de la Paloma / Fair of the Dove Alberto Mira 04 Aniki-Bobo Randal Johnson 05 Los Ultimos de Filipinas / Last Stand in the Philippines Isabel Santaolalla 06 Lola la Piconera / Lola the Coalgirl Alberto Mira 07 Marcelino pan y Vino / The Miracle of Marcelino Ryan Prout 08 Calle Mayor / Main Street Mark Allinson 09 El Ultimo Cuple / The Last Torch Song Chris Perriam 10 Viridiana Peter Evans 11 El Verdugo / The Executioner Alberto Mira 12 El Extrano Viaje / Strange Journey Alberto Mira 13 La Noche de Walpurgis / Shadow of the Werewolf Antonio Lazaro-Reboll 14 El Espiritu de la Colmena / Spirit of the Beehive Xon de Ros 15 Cria Cuervos / Raise Ravens Ryan Prout 16 El Diputado / Confessions of a Congressman Ryan Prout 17 Arrebato / Rapture Vicente Sanchez Biosca 18 Los Santos Inocentes / The Holy Innocents Elena Carrera 19 Joao de Deus Trilogy / Trilogy of John of God Lucia Nagib 20 Belle Epoque Alberto Mira 21 Viagem ao Principio do Mundo / Journey to the Beginning of the World Randal Johnson 22 Torrente: El Brazo Tonto de la Ley / Torrente: The Dumb Arm of the Law and Torrente 2: Mision en Marbella / Torrente 2: Mission in Marbella Antonio Lazaro-Reboll 23 Todo Sobre Mi Madre / All About My Mother Mark Allinson 24 Lucia y el Sexo / Sex and Lucia Paul Julian Smith Filmography Bibliography Index

About the Author

Alberto Mira is Reader at Oxford Brookes University, a freelance writer and novelist. He teaches Hollywood film narrative and European cinema, as well as representations of gender in film and literature. Amongst other publications, he is the author of De Sodoma a Chueca (2004).

Reviews

'Here are some of the best scholars on Iberian cinema describing and explaining some of the best and most popular Spanish and Portuguese films ... An important and rare opportunity to delight in two of the least known and richest cinemas in Europe.' Jose Arroyo, University of Warwick 'Blood, toreros and Franco or Fado, Fatima and Salazar? Twenty-four brilliantly argued essays brush away stereotypes or canonised readings of Spanish and Portuguese films. This volume offers new insights and refreshing views on a fascinating field of study.' Carolin Overhoff Ferreira, Universidade Catolica Portuguesa, Porto