Tackling subjects as varied as Madrid night-life, the necessity of alcohol, Renaissance art, sex, the importance of scholarship, boys on motor scooters, the nature of love, Plato, blue jeans, classicism and rock music, Luis Antonio de Villena (b.1951) is one of modern Spain's best-known writers. Although far from being realist, his work engages indirectly with historical phenomena in surprising and complex ways. This introduction to a provocative and sophisticated writer situates Villena's creative work in relation to the contemporary Spanish cultural scene, to 20th-century homosexual culture and to significant gay and dissident figures of the past, including Lorca and Luis Cernuda. The author explains how Villena has developed a radical new aesthetic out of the old raw materials of love, sex, death, power and the primacy of art and desire.

Stars and Masculinities in Spanish Cinema focuses on the careers of ten contemporary Spanish film stars, including Antonio Banderas, Javier Bardem, and Eduardo Noriega. Set in the double context of new approaches to Star Studies and current debates around masculinity, this is a key contribution to the growing fields of Spanish Cultural and Film Studies.

Lorca, icon and polymath in all his manifestations. A Companion to Federico Garcia Lorca provides a clear, critical appraisal of the issues and debates surrounding the work of Spain's most celebrated poet and dramatist. It considers past and current approaches to the study of Lorca, and also suggests new directions for further investigation. An introduction on the often contentious subject of Lorca's biography is followed by five chapters - poetry, theatre, music, drawing and cinema - which togetheracknowledge the polymath in Lorca. A further three chapters - religion, gender and sexuality, and politics - complete the volume by covering important thematic concerns across a number of texts, concerns which must be considered in the context of the iconic status that Lorca has acquired and against the background of the cultural shifts affecting his readership. The Companion is a testament to Lorca's enduring appeal and, through its explication oftexts and investigation of the man, demonstrates just why he continues, and should continue, to attract scholarly interest. FEDERICO BONADDIO lectures in Modern Spanish Studies at King's College London. CONTRIBUTORS: FEDERICO BONADDIO, JACQUELINE COCKBURN, NIGEL DENNIS, CHRISTOPHER MAURER, ALBERTO MIRA, ANTONIO MONEGAL, CHRIS PERRIAM, XON DE ROS, ERIC SOUTHWORTH, D. GARETH WALTERS, SARAH WRIGHT

This new history extends Modern Spanish literature into the late twentieth century and explores imaginative writings often ignored outside Spain. Extensive treatments of famous names are balanced by discussions of non-canonical and non-literary work. Thematic rather than chronological, the book places its texts in a variety of social, imaginary, and intellectual contexts.

This new history extends Modern Spanish literature into the late twentieth century and explores imaginative writings often ignored outside Spain. Extensive treatments of famous names are balanced by discussions of non-canonical and non-literary work. Thematic rather than chronological, the book places its texts in a variety of social, imaginary, and intellectual contexts.

Headline: Examines how LGBT filmmaking in France and Spain moves across borders and finds new audiences Blurb: The book advances the current state of film audience research and of our knowledge of sexuality in transnational contexts by analysing how French LGBTQ films are seen in Spain and Spanish ones in France. It studies films (in various media and platforms) and their reception across four languages (Spanish, French, Catalan, English) and considers and engages with participants from across a range of digital and physical audience locations, with a particular focus on festivals. It examines films that chronicle the local (in portraying national and sub-national identities) and draws on the regional-global (translating and transferring foreign models of non-heterosexual experience). No comparative and crosscutting study with audience research at its heart has yet been undertaken. Key Features: Offers a full, clear, and comparative cultural history of LGBTQ film since the 1990s in France and Spain and of its activist and theory-inspired connections Has audience reception at the core, working with an extensive corpus of responses Makes broad use of social networking sites and the popular LGBTQ press to gauge response Covers LGBTQ festivals including those in Barcelona, Bilbao, London, Lyon, Madrid, Manchester, Paris and Toulouse Is interested in short, independent, ephemeral and documentary film production as well as commercially-pitched feature films Looks at the cross-border impact of the auteur and big-name directors (e.g. Pedro Almodovar, Cesc Gay, Sebastien Lifshitz, Francois Ozon) Sets its findings against mainstream LGBTQ critical reception, written in Catalan, English, French, and Spanish Keywords: French cinema; Spanish cinema; audiences; LGBTQ cultures; lesbian and gay film festivals Subject: Film Studies Headline: Examines how LGBT filmmaking in France and Spain moves across borders and finds new audiences Blurb: The book advances the current state of film audience research and of our knowledge of sexuality in transnational contexts by analysing how French LGBTQ films are seen in Spain and Spanish ones in France. It studies films (in various media and platforms) and their reception across four languages (Spanish, French, Catalan, English) and considers and engages with participants from across a range of digital and physical audience locations, with a particular focus on festivals. It examines films that chronicle the local (in portraying national and sub-national identities) and draws on the regional-global (translating and transferring foreign models of non-heterosexual experience). No comparative and crosscutting study with audience research at its heart has yet been undertaken. Key Features: Offers a full, clear, and comparative cultural history of LGBTQ film since the 1990s in France and Spain and of its activist and theory-inspired connections Has audience reception at the core, working with an extensive corpus of responses Makes broad use of social networking sites and the popular LGBTQ press to gauge response Covers LGBTQ festivals including those in Barcelona, Bilbao, London, Lyon, Madrid, Manchester, Paris and Toulouse Is interested in short, independent, ephemeral and documentary film production as well as commercially-pitched feature films Looks at the cross-border impact of the auteur and big-name directors (e.g. Pedro Almodovar, Cesc Gay, Sebastien Lifshitz, Francois Ozon) Sets its findings against mainstream LGBTQ critical reception, written in Catalan, English, French, and Spanish Keywords: French cinema; Spanish cinema; audiences; LGBTQ cultures; lesbian and gay film festivals Subject: Film Studies

This title examines filmmaking, festivals, queer lives and cultures in Spain since 1998. Since the Catalan government passed the first of Spain's regional governmental laws on same-sex partnership in 1998, lesbian, gay, bisexual, transsexual and queer culture in Spain has thrived. Spanish Queer Cinema assesses the impact of this significant cultural expression on Spanish Cinema and evaluates the role LGBTQ film has had in creating and shaping identity and experience. Focusing on films from 1998 to the present day, Chris Perriam skilfully analyses the development of LGBTQ filmmaking and filmwatching in Spain and places this within the wider cultural context. Covering lesbian cinema, gay and queer documentaries and short films, as well as mainstream features, the book investigates how these films are distributed and how audiences react to them. An informative and thought-provoking book, Spanish Queer Cinema is an essential read for students and scholars working in the fields of Film Studies, Spanish Studies and Cultural Studies. It clarifies the issue of what 'queer' can signify in Spanish contexts and privileges non-'gay' cultural production. It takes full account of lesbian film culture in Spain. It covers short and documentary film production as well as commercially-pitched feature films. It makes extensive use of social networking sites and the popular LGBT press to gauge response. It devotes space to the closely related cultural industries of popular fiction and its sales and distribution, and to the relations of script to screen.

Headline: Examines how LGBT filmmaking in France and Spain moves across borders and finds new audiences Blurb: The book advances the current state of film audience research and of our knowledge of sexuality in transnational contexts by analysing how French LGBTQ films are seen in Spain and Spanish ones in France. It studies films (in various media and platforms) and their reception across four languages (Spanish, French, Catalan, English) and considers and engages with participants from across a range of digital and physical audience locations, with a particular focus on festivals. It examines films that chronicle the local (in portraying national and sub-national identities) and draws on the regional-global (translating and transferring foreign models of non-heterosexual experience). No comparative and crosscutting study with audience research at its heart has yet been undertaken. Key Features: Offers a full, clear, and comparative cultural history of LGBTQ film since the 1990s in France and Spain and of its activist and theory-inspired connections Has audience reception at the core, working with an extensive corpus of responses Makes broad use of social networking sites and the popular LGBTQ press to gauge response Covers LGBTQ festivals including those in Barcelona, Bilbao, London, Lyon, Madrid, Manchester, Paris and Toulouse Is interested in short, independent, ephemeral and documentary film production as well as commercially-pitched feature films Looks at the cross-border impact of the auteur and big-name directors (e.g. Pedro Almodovar, Cesc Gay, Sebastien Lifshitz, Francois Ozon) Sets its findings against mainstream LGBTQ critical reception, written in Catalan, English, French, and Spanish Keywords: French cinema; Spanish cinema; audiences; LGBTQ cultures; lesbian and gay film festivals Subject: Film Studies Headline: Examines how LGBT filmmaking in France and Spain moves across borders and finds new audiences Blurb: The book advances the current state of film audience research and of our knowledge of sexuality in transnational contexts by analysing how French LGBTQ films are seen in Spain and Spanish ones in France. It studies films (in various media and platforms) and their reception across four languages (Spanish, French, Catalan, English) and considers and engages with participants from across a range of digital and physical audience locations, with a particular focus on festivals. It examines films that chronicle the local (in portraying national and sub-national identities) and draws on the regional-global (translating and transferring foreign models of non-heterosexual experience). No comparative and crosscutting study with audience research at its heart has yet been undertaken. Key Features: Offers a full, clear, and comparative cultural history of LGBTQ film since the 1990s in France and Spain and of its activist and theory-inspired connections Has audience reception at the core, working with an extensive corpus of responses Makes broad use of social networking sites and the popular LGBTQ press to gauge response Covers LGBTQ festivals including those in Barcelona, Bilbao, London, Lyon, Madrid, Manchester, Paris and Toulouse Is interested in short, independent, ephemeral and documentary film production as well as commercially-pitched feature films Looks at the cross-border impact of the auteur and big-name directors (e.g. Pedro Almodovar, Cesc Gay, Sebastien Lifshitz, Francois Ozon) Sets its findings against mainstream LGBTQ critical reception, written in Catalan, English, French, and Spanish Keywords: French cinema; Spanish cinema; audiences; LGBTQ cultures; lesbian and gay film festivals Subject: Film Studies

This book examines filmmaking, festivals, queer lives and cultures in Spain since 1998. Since the Catalan government passed the first of Spain's regional governmental laws on same-sex partnership in 1998, lesbian, gay, bisexual, transsexual and queer culture in Spain has thrived. Spanish Queer Cinema assesses the impact of this significant cultural expression on Spanish Cinema and evaluates the role LGBTQ film has had in creating and shaping identity and experience. Focusing on films from 1998 to the present day, Chris Perriam skilfully analyses the development of LGBTQ filmmaking and filmwatching in Spain and places this within the wider cultural context. Covering lesbian cinema, gay and queer documentaries and short films, as well as mainstream features, the book investigates how these films are distributed and how audiences react to them. An informative and thought-provoking book, Spanish Queer Cinema is an essential read for students and scholars working in the fields of Film Studies, Spanish Studies and Cultural Studies. It clarifies the issue of what 'queer' can signify in Spanish contexts. It takes full account of lesbian film culture in Spain. It covers short and documentary film production as well as commercially-pitched feature films. It makes extensive use of social networking sites and the popular LGBT press to gauge response. It devotes space to the closely related cultural industries of popular fiction and its sales and distribution, and to the relations of script to screen.

This innovative book is about the place of world cinema in the cultural imaginary. It also repositions world cinema in a wider discursive space than is usually the case and treats it as an object of theoretical enquiry, rather than as a commercial label. The editors and distinguished group of contributors offer a range of approaches and case studies whose organizing principle is the developing idea of polycentrism as applied to cinema. They refine and redefine key concepts in film studies, including identification and identity, narrative and realism, allegory and the national project, auteurism and the popular, art and genre. They re-evaluate how cinema shapes and responds to the philosophical, cultural and political effects of transnationalism and cosmopolitanism in the age of the moving image, and explore the interconnectedness of films produced worldwide, as well as the links between cinema and other visual cultural forms. The contributors include: John Caughie, Felicia Chan, Tiago de Luca, Rajinder Dudrah, Song Hwee Lim, Laura Mulvey, Lucia Nagib, Geoffrey Nowell-Smith, Chris Perriam, Ashish Rajadhyaksha, Paul Julian Smith, and Ismail Xavier.

This innovative book is about the place of world cinema in the cultural imaginary. It also repositions world cinema in a wider discursive space than is usually the case and treats it as an object of theoretical enquiry, rather than as a commercial label. The editors and distinguished group of contributors offer a range of approaches and case studies whose organizing principle is the developing idea of polycentrism as applied to cinema. They refine and redefine key concepts in film studies, including identification and identity, narrative and realism, allegory and the national project, auteurism and the popular, art and genre. They re-evaluate how cinema shapes and responds to the philosophical, cultural and political effects of transnationalism and cosmopolitanism in the age of the moving image, and explore the interconnectedness of films produced worldwide, as well as the links between cinema and other visual cultural forms. The contributors include: John Caughie, Felicia Chan, Tiago de Luca, Rajinder Dudrah, Song Hwee Lim, Laura Mulvey, Lucia Nagib, Geoffrey Nowell-Smith, Chris Perriam, Ashish Rajadhyaksha, Paul Julian Smith, and Ismail Xavier.