Table of Contents
Acknowledgments
Contributors
Foreword - Robert Sklar
Introduction - Jay Beck and Vicente Rodríguez Ortega
Section I - Industry, marketing and film culture
1. The fantastic factory: the horror genre and contemporary Spanish cinema - Andrew Willis
2. Trailing the Spanish auteur: Amenábar, Almodóvar&de la Iglesia’s generic routes in the US market - Vicente Rodríguez Ortega
3. ‘Now playing everywhere’: Spanish horror film in the marketplace - Antonio Lázaro-Reboll
Section II - Generic hybridity: negotiating the regional, the national and the transnational
4. From Sevilla to the world: the transnational and transgeneric initiative of La Zanfoña Producciones - Josetxo Cerdán and Miguel Fernández Labanyen
5. *Justino, un asesino de la tercera edad*: Spanishness, dark comedy and horror - Juan F. Egea
6. Tracing the past, dealing with the present: notes on the political thriller in contemporary Spanish cinema - Vicente J. Benet
7. Selling out Spain: screening capital and culture in *Airbag* and *Smoking Room* - William Nichols
Section III - Genre&authorship
8. The transvestite figure and film noir: Pedro Almodóvar’s transnational imaginary - Carla Marcantonio
9. Caressing the text: episodic erotics and generic structures in Ventura Pons’s ‘Minimalist Trilogy’ - David Scott Diffrient
10. Horror of allegory: *The Others* and its contexts - Ernesto R. Acevedo-Muñoz
11. Love, loneliness and laundromats: affect and artifice in the cinema of Isabel Coixet - Belén Vidal
Section IV - Multilingual imaginaries, borderless Spain
12. Dancing with ‘Spanishness’: Hollywood codes and the site of memory in the contemporary film musical - Pietsie Feenstra
13. Immigration films: communicating conventions of (in)visibility in contemporary Spain - Maria Van Liew
14. Spanish-Cuban co-productions: tourism, transnational romance and anxieties of authenticity - Mariana Johnson
Index