Contributors
in Contemporary Spanish cinema and genre

Contributors

Ernesto R. Acevedo-Muñoz is Associate Professor of Film Studies, Comparative Literature and Humanities at the University of Colorado at Boulder. He is the author of the books Pedro Almodóvar (2007) and Buñuel and Mexico: The Crisis of National Cinema (2003). His essays have appeared in Quarterly Review of Film and Video, Film and History, LIT, and in the anthologies After Hitchcock, Healing Cultures, The Processes of Adaptation and Genre, Gender, Race and World Cinema. He is currently writing a book on West Side Story and preparing a book on Latin American cinemas and questions of film theory.

Jay Beck is Assistant Professor of Media and Cinema Studies in the College of Communication at DePaul University. He has published articles in Southern Review, iris, Torre De Papel, The Journal of Popular Film and Television, The Moving Image, Kino-Ikon, Scope and Illuminance. His dissertation, ‘A Quiet Revolution: Changes in American Film Sound Practices, 1967–1979’, received the 2004 SCMS Dissertation Award, and he recently co-edited a collection on film sound entitled Lowering the Boom: Critical Studies in Film Sound (2008).

Vicente J. Benet teaches History of Spanish Film at the Universitat Jaume I in Castellón, Spain, and is managing editor of the journal Archivos de la Filmoteca. He has written several articles on Spanish film of the transition period to democracy and on Spanish filmmakers such as Luis García Berlanga or Enrique Urbizu. He is currently writing on the representation of historical events in Spanish fiction film.

Josetxo Cerdán Los Arcos is Professor at the Predepartamental Unity of Communication, Journalism and Advertisement of the Universidad Rovira i Virgili, Tarragona, Spain. He has co-edited the volume Mirada, memoria y fascinación. Notas sobre el documental español (2001) and, with Casimiro Torreiro, Documental y vanguardia (2005) and Al otro lado de la ficción (2007). He is also coeditor of Suevia Films-Cesáreo González. Treinta años de cine español (2005). He has also collaborated in collective projects such as Antología crítica del cine Español (1997). He is author, with Luis Fernández Colorado, of a recent book about the Spanish producer Ricardo Urgoiti: Ricardo Urgoiti. Los trabajos y los días (2007). Now he is working on the history of Spanish television.

David Scott Diffrient is Assistant Professor of Film and Media Studies at Colorado State University. He has published articles in Cinema Journal, Film Quarterly and Film and History, and his essays can be found in such anthologies as Horror Film: Creating and Marketing Fear (2004) and New Korean Cinema (2005). His recently completed manuscript exploring the cultural history of M*A*S*H, from novel to film to award-winning TV series, will be published in 2008.

Juan F. Egea is Associate Professor at the University of Wisconsin-Madison, where he teaches contemporary peninsular poetry and film. He is the author of La poesía del nosotros: Jaime Gil de Biedma y la secuencia lírica moderna (2004). He has published articles on Víctor Erice’s El espíritu de la colmena, Luis García Berlanga’s El verdugo and Marco Ferreri’s El cochecito, among others. His current book-length project on Spanish dark film comedy is entitled Dark Laughter.

Pietsie Feenstra is a lecturer in Film Studies at Sorbonne University in Paris, where in 2001 she received her PhD. Her dissertation has been published as Les Nouvelles Figures mythiques du cinéma espagnol (1975–1995) : à corps perdus (2006) and she recently edited a book with Hub Hermans on contemporary Spanish cinema entitled Miradas sobre pasado y presente en el cine español (1990– 2005) (2008). She is currently preparing a book entitled La Mémoire du cinéma espagnol 1975–2007, and she is a member of the French research team Les Théâtres de la Mémoire.

Mariana Johnson is Assistant Professor of Film Studies at the University of North Carolina at Wilmington. Her research focuses on Latin American cinema and cultural theory. She has published articles on Latin American and French avant-garde cinema and coauthored, with Toby Miller, a chapter on film and political economy in the forthcoming Oxford Handbook to Film and Media Studies. She is currently working on a book about transnationalism in contemporary Cuban film and media.

Miguel Fernández Labayen is Assistant Professor at the Universidad Autónoma de Barcelona. He is the author of a critical study of Woody Allen’s Hannah and Her Sisters (2005) and has also published articles on the tradition of the American avant-garde for collective books such as Dentro y fuera de Hollywood. La tradición independiente en el cine americano (2004) and El sonido de la velocidad (2005) and journals such as Archivos de la Filmoteca. He is currently coordinating a special issue of Secuencias. Revista de Historia del Cine devoted to contemporary film comedy and researching the evolution of Spanish television and film comedy.

Antonio Lázaro-Reboll is Lecturer in Hispanic Studies at the University of Kent, where he lectures on European cinema and Spanish cinema and literature. He is co-editor (with Andrew Willis) of Spanish Popular Cinema (2004) and (with Mark Jancovich, Julian Stringer and Andrew Willis) of Defining Cultural Movies: The Cultural Politics of Oppositional Taste (2003). He has contributed to the following collections: The Cinema of Spain and Portugal (2005) and Latin American Exploitation Cinemas (forthcoming). Currently, he is writing a critical history of the horror genre in Spain.

Carla Marcantonio has a PhD in Cinema Studies at New York University and is an Assistant Professor of English (Film and Media Studies) at George Mason University. She has published articles on a variety of topics in Women and Performance, Cineaste and Senses of Cinema.

William J. Nichols is Assistant Professor of Spanish at Georgia State University. He specialises in contemporary Spanish literature and culture, specifically detective fiction and film studies. His manuscript, titled Transatlantic Mysteries: Culture, Capital, and Crime in the ‘Noir’ Novels of Paco Ignacio Taibo II and Manuel Vázquez Montalbán, is currently under revision. Currently, he is editing a special issue of the Revista Iberoamericana titled ‘Crimen, cadáveres, y cultura: Siguiendo las pistas de la novela negra’, which focuses on noir fiction in Hispanic literature. He has also written on themes of memory, space and textual fragmentation in the novels of such Spanish authors as Manuel Rivas, Antonio Soler, Rafael Chirbes and Rafael Reig.

Vicente Rodríguez Ortega has a PhD in Cinema Studies from New York University. He is a Visiting Professor in the Department of Drama and Film at Vassar College, and is a staff member of Reverse Shot. His interests include contemporary transnational cinemas, genre theory, and film and digital technology.

Robert Sklar is a Professor of Cinema in the Department of Cinema Studies, Tisch School of the Arts, New York University. His books include Film: An International History of the Medium (also issued as A World History of Film, 1993, revised and updated 2002), Movie-Made America: A Cultural History of American Movies (1975, revised and updated 1994), and City Boys: Cagney, Bogart, Garfield (1992). He is a member of the National Film Preservation Board and the US National Society of Film Critics.

Maria Van Liew is Associate Professor of Spanish Cultural Studies at West Chester University in Pennsylvania. She teaches film, literature, women’s studies and cultural history courses in Spanish and English. Most recently, she has presented and published articles on various aspects of feminism and immigration in contemporary Spanish cinema, including ‘Importing Love: Transnational Subjectivity in Iciar Bollaín’s Flores de otro mundo (1999)’ in Letras Femeninas (summer 2007).

Belén Vidal is Lecturer in Film Studies at King’s College, London. She is the author of Textures of the Image: Rewriting the American Novel in the Contemporary Film Adaptation (2002) and has contributed articles on gender theory and the aesthetics of the period film to the journals Screen and Archivos de la Filmoteca. She is currently working on a monograph on the heritage film and on a project on cinephilia and Spanish cinema.

Andrew Willis teaches film and media studies at the University of Salford, UK. He is the co-author, with Peter Buse and Núria Triana-Toribio, of The Cinema of Álex de la Iglesia (2007) and the co-editor, with Antonio Lázaro-Reboll, of Spanish Popular Cinema (2004). He is also the co-editor, with Núria Triana-Toribio, of Manchester University Press’s Spanish and Latin American Filmmakers series.

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