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Pedro Almodóvar may have helped put queer Iberian cinema on the map, but there are multitudes of LGBTQ filmmakers from Catalonia, Portugal, Castile, Galicia, and the Basque Country who have made the Peninsula one of the world's most vital sources for queer film. Together, they have produced a cinema whose expressions of queer desire have challenged the region's conservative religious and family values, while intervening in vital debates about politics, history, and nation. Indiscreet Fantasies is a unique collection that offers in-depth analyses of fifteen different films produced in the region over the past fifty years, each by a different director, from Narciso Ibáñez Serrador's La residencia (The House That Screamed, 1969) to João Pedro Rodrigues's O ornitólogo (The Ornithologist, 2016). Contributors examine how queer Iberian cinema has responded to historical trauma—from the AIDS crisis to the repressive and homophobic Franco regime—and explore how these films demonstrate a fluid understanding of sexuality, gender, and national identity. The result will give readers a new appreciation for the cultural diversity of Iberia and the richness of its thought-provoking queer cinema. Published by Bucknell University Press. Distributed worldwide by Rutgers University Press.

In this volume, eighteen experts from a variety of academic backgrounds explore the use of songs in films from the Spanish- and Portuguese-speaking worlds. This volume illustrates how – rather than simply helping to tell the story of – songs in Hispanic and Lusophone cinema commonly upset the hierarchy of the visual over the aural, thereby rendering their hearing a complex and rich subject for analysis.Screening songs... constitutes a ground-breaking, interdisciplinary collection. Of particular interest to scholars and academics in the areas of Film Studies, Hispanic Studies, Lusophone Studies and Musicology, this volume opens up the study of Hispanic and Lusophone cinema to vital, new, critical approaches. The soundtracks of films as varied as City of God, All About My Mother, Bad Education and Buena Vista Social Club are analysed alongside those of lesser-known works that range from the melodramas of Mexican cinema's golden age to Brazilian and Portuguese musical comedies from the 1940s and 1950s. Fiction films are studied alongside documentaries, the work of established directors like Pedro Almodóvar, Carlos Saura and Nelson Pereira dos Santos alongside that of emerging filmmakers, and performances by iconic stars like Caetano Veloso and Chavela Vargas alongside the songs of Spanish Gypsy groups, Mexican folk songs and contemporary Brazilian rap.

Spanish Cinema of the New Millennium provides a new approach to the study of contemporary Spanish cinema between 2000 and 2015, by analysing films that represent both ‘high'and ‘popular'culture side by side. The two film cultures are represented by Goya-winning films and the biggest box-office successes. By analysing the chronological trajectory of the country's most important films over this period, Spanish Cinema of the New Millennium examines contemporary Spain's national identity, culture and film industry.

The Politics of Age and Disability in Contemporary Spanish Film examines the onscreen construction of adolescent, elderly, and disabled subjects in Spanish cinema from 1992 to the present. Applying a dual lens of film analysis and theory drawn from the allied fields of youth, age, and disability studies, this study is set both within and against a conversation on cultural diversity—with respect to gender, sexual, and ethnic identity—which has driven not only much of the past decade's most visible and fruitful scholarship on representation in Spanish film, but also the broader parameters of discourse on post-Transition Spain in the humanities. Presenting an engaging, and heretofore under-explored, interdisciplinary approach to images of multiculturalism in what has emerged as one of recent Spain's most vibrant areas of cultural production, this book brings a fresh, while still complementary, critical sensibility to the field of contemporary Peninsular film studies through its detailed discussion of six contemporary films (by Salvador García Ruiz, Achero Mañas, Santiago Aguilar & Luis Guridi, Marcos Carnevale, Alejandro Amenábar, and Pedro Almodóvar) and supporting reference to the production of other prominent and emerging filmmakers.

Spanish Horror Film is the first in-depth exploration of the genre in Spain from the'horror boom'of the late 1960s and early 1970s to the most recent production in the current renaissance of Spanish genre cinema, through a study of its production, circulation, regulation and consumption. The examination of this rich cinematic tradition is firmly located in relation to broader historical and cultural shifts in recent Spanish history and as an important part of the European horror film tradition and the global culture of psychotronia.Key Features•The first critical study on Spanish horror film to be published in English.•An overview of key directors, cycles and representative films as well as of more obscure and neglected horror production.•A detailed analysis of the work of directors such as Jesús Franco, Amando de Ossorio, Narciso Ibáñez Serrador, Eloy de la Iglesia, Jaume Balagueró, Nacho Cerdá and Guillermo del Toro's'Spanish'films.•A focus on critical and cult contexts of reception in Spain, Great Britain and USA.