Burning Darkness

Joan Ramon Resina is Professor of Spanish and Portuguese at Stanford University. His many books include After-Images of the City (coedited with Dieter Ingenschay). Andrés Lema-Hincapié is Assistant Professor in the Department of Modern Languages at the University of Colorado at Denver.

"The contribution of Burning Darkness to the field of film studies and to the field of Spanish cinema studies, in particular, constitutes one of the best—if not the best—and most complete books of its kind … Burning Darkness is an excellent, innovative, and well-written book, accessible not only to scholars and students but also to anyone interested in Spanish cinema." — Revista de Estudios Hispánicos"…provides a panoramic view of Spanish cinema from 1952 to the end of the millennium … a highly useful resource." — Bulletin of Hispanic Studies"The essays are generally thoroughly researched and well written, and they take fresh, fruitful approaches to their subject matter … This collection significantly furthers understanding of Spanish cinema." — CHOICE"The editors have brought together some of the most important scholars in contemporary peninsular studies from North America and Europe. From one chapter to the next, the book consistently demonstrates an interplay between film (as both industry and artifact) and the social, political, economic, and cultural factors that surround it. In its plurality of critical perspectives, Burning Darkness demonstrates the depth and breadth of the critical dialogue that Spanish film has generated over the last half century." — Colleen P. Culleton, University at Buffalo, State University of New York

• List of IllustrationsIntroductionJoan Ramon Resina 1. Rehearsing for Modernity in ¡Bienvenido, Mr. Marshall!(Luis García Berlanga, 1952)Eva Woods Peiró2. Existential Crossroads in Muerte de un ciclista(Juan Antonio Bardem, 1955)Andrés Lema-Hincapié3. Viridiana Coca-Cola(Luis Buñuel, 1961)Tom Conley4. El espíritu de la colmena: Memory, Nostalgia, Trauma(Víctor Erice, 1973)Chris Perriam5. A Poetics of Splitting: Memory and Identity in La prima Angélica(Carlos Saura, 1974)Àngel Quintana6. Ambiguous Disenchantment in El corazón del bosque(Manuel Gutiérrez Aragón, 1979)Ireni Depetris Chauvin7. Los paraísos perdidos: Cinema of Return and Repetition(Basilio Martín Patino, 1985)Tatjana Pavlovic´ 8. (M)Othering Strategies in El pájaro de la felicidad(Pilar Miró, 1993)Jaume Martí-Olivella9. Abjection, Trauma, and the Material Image: La madre muerta(Juanma Bajo Ulloa, 1993)Jo Labanyi 10. The Catalan Body Politic as Aired in Teta i la lluna(Bigas Luna, 1995)Dominic Keown11. Genre and Screen Violence: Revisiting Tesis(Alejandro Amenábar, 1996)Barry Jordan12. Conceptualizing "the Impact" in Los amantes del círculo polar(Julio Medem, 1998)Robert A. Davidson13. Immortal/Undead: The Body and the Transmission of Tradition in Amic/Amat(Ventura Pons, 1999)Josep-Anton Fernàndez14. Imitation of Life: Transsexuality and Transtextuality in Todo sobre mi madre(Pedro Almodóvar, 1999)Esteve Riambau15. The Construction of the Cinematic Image: En construcción(José Luis Guerín, 2000)Joan Ramon ResinaWorks CitedList of ContributorsIndex