Spain and General Bibliography
Karen E. Breiner-Sanders
Georgetown University, Washington, DC




Abel, Christopher and Nissa Torrents ed. «The Spanish Novel from 1972-1982: A Mirage ofFreedom», Conditional Democracy, London: Croom Helm, 1984.

Aguilar, Carlos and Jaume Genover.El Cine Español en sus intérpretes.Madrid: Verdoux, 1992.[PN1998.2 .A38 1992]

Aitken, Stuart C., and Leo E. Zonn.Place, Power, Situation and Spectacle.A Geography of Film.Lanham, MD: Rowman and Littlefield, 1994.

Almendros, Néstor.Cinemanía: Ensayos sobre cine. Barcelona: Ed. Seix Barral, 1992.

Almodóvar, Pedro.Almodóvar on Almodóvar.London: Faber and Faber, 1996.[PN1998.3.A46 A313 1996]

Altman, Rick, ed. Sound Theory/Sound Practice. Routledge, 1992.

Alvares, Rosa and Belén Frías.Vicente Aranda, Victoria Abril:El cine como pasión.Valladolid:Sociedad General de Autores de España, 1991.[Semana Internacional de Cine de Valladolid, 1991]

Amell, Samuel and Salvador García Castaneda.La Cultura Española en el Post Franquismo: Diez Años de Cine, Cultura y Literatura en España (1975-1985). Madrid: Playor, 1988. [PQ6002 .C85 1988]

Andrew, Dadley.Scripts of Film Theory.NY: Oxford University Press, 1984.

Aranda, J. Francisco.Luis Buñuel: biografía crítica.Barcelona: Lumen, 1975.[PN1998.A3 B75 1975]

Aumont, J., A. Bergala, M. Marie, M. Vernet. Estética del Cine:Espacio Fílmico, Montaje, Narración, Lenguaje.Barcelona, Buenos Aires, Madrid: Ediciones Paidos, 1st reprint, 1989.

Aumont, Jacques. Montage Eisenstein.Bloomington: Indiana University Press, 1987.

Avellar, José Carlos. Imagem e Som: Imagem e Acao. Río de Janeiro: Paz e Terra, 1982.

Ayala, Francisco. El escritor y el cine. Madrid: Ediciones Cátedra, S.A., 1996.

Barahona, Fernando Alonso.Biografía del Cine Español, Barcelona: Centro de Investigaciones Literarias Españolas e Hispanoamericanas, S.A., 1992. [PN 1993 .5S7 1978 1992].

Bardem, Juan Antonio. "¿Para qué Sirve un film?," Cinema Universitario, núm. 4, diciembre de 1956.

Barker, Adam and Elsaesser, Thomas, eds. Early Cinema: Space, Frame, Narrative, London: BFI Pub., 1990.

Barsam, Richard Meran.Nonfiction Film: A Critical History.Bloomington, IN: Indiana Univ. Press, 1992. [PN1995.9.D6 B38 192]

Bartholomew, Gail. (Summer, 1983) "The Development of Carlos Saura," Journal of the University Film and Video Association, Vol. 35, No. 3, 15-33.

Bayon, Miguel.La Cosecha del Año 1990. Madrid: Siglo XXI, 1991.

Bazin, André.What is Cinema? Vol. 2.Berkely: University of California Press, 1971.[PN1994.B3513 vol.1, vol.2]

Belton, John. Widescreen Cinema, Cambridge: University of Harvard Press, 1992.

Benet, Juan.Return to Region.NY: Columbia University Press, 1985.

_________. Volverás a Región, Madrid: Alianza Editorial, 1974.

"Berlanga Retrospective at U.S.C.," The Spectator, Vol. 3, no. 1,9, Fall, 1983.

Bernardet, Jean-Claude. Cineastas e Imagenes do Povo, PN 1995.9.D6 B395 1985.

Besas, Peter. Behind the Spanish Lens:Spanish Cinema Under Fascism and Democracy, Denver: Arden Press, Inc., 1985. [PN1993.5.S7 B47 1985]

Bettetini, Gianfronco.La Conversación Audiovisual, 1984.

Black, Gregory D.Hollywood Censored: Morality Codes, Catholics, and the Movies.New York: Cambridge University Press.

Blake, Richard. "Franco is Dead," America, Jan. 12, 1989, pp. 41-42.

Bordwell, David and Kristin Thompson.Film Art: An Introduction, Fourth Edition.Highstown, New Jersey: McGraw-Hill, 1993.

Bordwell, David.The Cinema of Eisenstein. Cambridge, MA: Harvard Univ. Press.

_________.The Classical Holywood Cinema: Film Style and Mode of Production to 1960, New York: Columbia University Press, 1985.

_________.Making Meaning: Interpretations of Cinema, 1991.

_________.Narration in the Fiction Film. Madison: Univ. Of Wisconsin Press, 1985.

_________. Post Theory: Reconstructing Film Studies.

Bouza Vidal, Nuria.El cine de Pedro Almodóvar.Barcelona: Ediciones Destino, 1990.[PN1998.3 A46 B6 1990]

Brady, Ben.  Principles of Adaptation for Film and Television.Austin, TX: Univ. of Texas Press, 1994. [PN 1997.85.B73 1994]

Branigan, Edward.Point of View in the Cinema.NY: , 1984.

Brasó, Enrique. Carlos Saura, Madrid: Taller de Ediciones JB, 1974.

Brown, Gene, ed. The New York Times Encyclopedia of Film (Library use only: PN1993 .N465 1984, vol. 1-13)

Brunetta, Giampiero Piero.Nacimiento del Relato Cinematográfico.Ediciones Catedra Signo e Imagen, 1987.

Buñuel, Luis.My Last Sigh.New York: Vintage Books, 1983.

"Buñuel, Sáenz de Heredia, and Filmófono," Sight & Sound 44, 180-182, Summer 1975.

Burch, Voël.Theory of Film Practice.Princeton: Princeton Uniersity Press, 1981.

Cabrera Infante, Guillermo.Cine o Sandina.Madrid: Santillana, S.A. 2nd ed., 1997.

Calvacanti, Pedro C.U., "The Left in the Mallands, " in Telos, no. 53, St. Louis, 1982.

Camus, Mario, una mesa redonda sobre su obra celebrada en el Festival de Cine de Valladolid de 1984.

Cancalon, Elaine D. and Antoine Spacagna.Intertextuality in Literature and Film.Gainesville, FL: Univ. Press of Florida.

Cañeque, Carlos y Maite Grau.Bienvenido, Mr Berlanga, Barcelona: Ediciones Destino, 1993.

Caparrós Lera, J.M.El Cine Español Bajo el Régimen de Franco (1936-1975).Ediciones de la Universitat de Barcelona, 1983.[PN1993.5.S7 C29 1983]

__________.El cine español de la democracia:de la muerte de Franco al "cambio" socialista (1975-1989). Barcelona: Editorial Anthropos, 1992.[PN1993.5.S7 C293 1992]

Caparrós-Lera, J.M. and de España, Rafael. (September 1987) The Spanish Cinema: An Historical Approach. Madrid: Film Historia, 1987. [primeras páginas del artículo sobre Ay, Carmela]

Cardullo, Bert. "Grotesqueries," Hudson Review, LXV, 1, (Spring 1992), 101-108.

"Carlos Saura's Spectator: Some Notes on Underdevelopment," Film Studies: Preceedings of the Sixth Annual Purdue University Conference on Film, 289-95.West Lafayette, Indiana, 1982.

"Carlos Saura: The Political Development of Individual Consciousness," Film Quarterly, 14-25, Spring 1979.

Carr, Raymond and Juan Pablo Fusi Aizpurua.España de la dictadura a la democracia.(English Language Version: Spain: dictatorship to democracy.Boston: Allen & Unwin, 1981.)

Carson, Diane, and Linda Dittmar, Janice Welsch (eds.).Multiple Voices in Feminist Film Criticism.Minneapolis, MN: Univ. of Minnesota Press, 1994.

Casablanca, núm. 9, septiembre de 1981.

Casetti, Francesco.El film y su Espectador.Madrid: Catedra, 1989.

"Catalan Cinema:Historical Experience and Cinematic Practice," Quarterly Review of Film, and Video, Vol 13, No. 1-3, 131-147.

Chatman, Seymour.Coming to Terms: the Rhetoric of Narrative in Fictions and Film.Press, 1990.

Chang, Briankle G. Deconstructing Communication: Representation, Subject, and Economies of Exchange. Minneapolis, MN: Univ. of Minn. Press, 1996.

Cine Español para el Exterior: Base de datos (CD).Madrid: Dirección General de Relaciones Culturales y Científicas.Ministerio de Asuntos Exteriores de España, 1996.

El Cine Español, 1896 - 1983. Madrid: Ministro de Cultura, 1986.

Cine Español (1896-1988), ICAA, ed., Ministerio de Cultura, 1989.

Cine Español a Través de sus Actores, 1992.

«El Cine Español de Posguerra», Contracampo, núm 24.

Ciria, Alberto. Política y Cultura Popular: la Argentina Peronista 1946-55Buenos Aires:Ediciones de la Flor, 1983.

Cineinforme, 11 de abril de 1981.

Cinemanía (Revista española sobre cine)

Collins, Jim.Film Theory Goes to the Movies.NY: Routledge, 1993.[PN 1994. F43915 1993]

Contracampo, núm. 35.

Cook, Pam, ed. The Cinema Book.Bloomington, Indiana: Indiana University Press, 1985.

Cook, Pam, and Philip Dodd, eds.Women and Film: A Sight and Sound Reader.Philadelphia: Temple Univ. Press, 1994.

Costa, Antonio.Saber Ver el Cine. Barcelona: Ediciones Paidos, 1988.[PN1994 C63818 1988]

Creed, Barbara. The Monstrous-Feminine: Film, Feminism, Psychoanalysis, NY: Routledge 1993 (PN 1995.9 .H6 C74 1993)

D'Acci, Julie, et al., ed. Camera Obscura, A Journal of Feminism and Film Theory, Bloomington, Indiana: Indiana University Press.

Dalle Vacche, Angela. The Body in the Mirror: Shapes of History in Italian Cinema,Princeton: Princeton Univ. Press, 1992.

Deely, John. Basics of Semiotics, Bloomington, Indiana: Indiana University Press, 1990.

De Lauretis, Teresa. Alice Doesn't: Feminism, Semiotics, Cinema. Bloomington, Indiana: Indiana University, Press, 1984.[PN1995.9.W6 D4 1984]

Deleuze, Gilles. Cinema 2:L’image-temps. Paris: Editions de Minuit, 1985.

_________. Cinema 3: L’image-temps. Paris: Editions de Minuit, 1983.

_________. Cinema 1: The Movement-Image.Minneapolis, MN: Univ. Of Minnesota Press, 1986.

_________. Cinema 2. Minneapolis, MN: Univ. Of Minnesota Press, 1989.

Delgado, Juan-Fabián.Andalucía y el Cine del 75 al 92.Sevilla, Spain: Ediciones el Carro de la Nieve, 1991.

Delibes, Miguel.He dicho. Ediciones Destino: Áncora y Delfín.

"Demarginalizing Spanish Film," Quarterly Review of Film and Video, Vol. 11, Np. 4, 73-82, 1990.

Deveny, Thomas. Cain on Screen: Contemporary Spanish Cinema, Metuchen, New Jersey: Scarecrow Press, 1993.[PN1993.5.S7 D48 1993]

_______. Contemporary Spanish Film From Fiction, Maryland: Scarecrow Press, 1999. [PN 1993.5 .S7 D49 1999]

D'Lugo, Marvin. The Films of Carlos Saura: The Practice of Seeing, Princeton: Princeton University Press, 1991.  [PN1998.3 S28 D57 1991]

________.  Guide to the Cinema of Spain  [PN1993.5.S7 D68 1997].  Lauinger Ref. Stacks - Library Use Only]

Durgnat, Raymond.  Luis Buñuel. Berkeley, CA: Univ. of CA Press,1967.

Dyer, Richard.  The Matter of Images: Essays on Representations.  New York: Routledge, 1993.

Eco, Umberto. A Theory of Semiotics, Bloomington, Indiana: Indiana University Press, 1976.

Edwards, Gwynn. The Discreet Art of Luis Buñuel: A Reading Of His Films.  Boston: Marion Boyars, 1982.

_________. "Lorca and Buñuel: Así que Pasen Cinco Años and Un Chien Andalou," García Lorca Review, Vol, IX, No.2 (Fall 1981), pp. 128-43.

Eidsvik, Charles.  "Buñuel's Tristana (1970)," Dark Laughter.

Eisenstein, S. Teoría y Técnicas Cinematográficos, Madrid: Rialp, libros de cine No 4.

Eisenstein, Sergei. Potemkin, a Film, translated from the Russian by Gillon R. Aitken, New York: Simon & Schuster, 1968.

Elsaesser, Thomas. "The Author in the Film:  Self-Expression as Self-Representation," New German Cinema:  A History, Rudgers, 1989, pp 74-116.

Elkins, James. The Object Stares Back: On the Nature of Seeing, New York: Simon & Schuster, 1996.  [BF241 .E45 1996]

Erausquia, M. Alonso y Luis Matilla.Imágenes en Acción: Análisis y Prática de la Expresión Audiovisual en la Escuela Activa.Ediciones Akal S.A., 1990.

"¿Es Almodóvar un genio?," El País Semanal, 17 de octubre, 1993.

Evans, Peter W.The Films of Luis Buñuel: Subjectivity and Desire. Oxford: Clarendon Press, 1995.

_______.Women on the Verge of a Nervous Breakdown.London: British Film Institute, 1996.

Fanés, Félix. Cifesa, la antorcha de los éxitos, Valencia:Institución Alfonso el Magnánimo, 1982.

Fassbinder, Rainer W. The Anarchy of the Imagination Baltimore: The John Hopkins University Press, 1992. (PN 1998.3 .F37 A3 1992)

Fernán-Gómez, Fernando.El vendedor de naranjas (novel - satire on the movie industry in Spain)

Fiddian, Robin W. and Peter W. Evans. Challenges to Authority: Fiction and Film in Contemporary Spain. London: Tamesis Books Ltd., 1988. [PN1993.5.S7 F5 1988]

Film Quarterly, Fall 1993, Vol. 47, pp. 30-35. Artículo sobre Jamón, Jamón.

Filmoteca: cuadernos de la filmoteca, 1993, No. 1:"No-Do: El tiempo y la memoria." Madrid: Ministerio de Cultura, Filmoteca Española, 1993.

Fleishman, Avron. Narrated Films:Storytelling Situations in Cinema History, Baltimore: The Johns Hopkins University Press, 1991.

Font. Del azul al verde. El cine español durante el Franquismo, Barcelona: Avance, 1976.

Foster, David William, and Roberto Reis, eds. Bodiesand Biases: Sexualities in Hispanic Cultures and Literatures. Minneapolis, MN: Univ. Of Minnesota Press, 1996.

Fotogramas, núms. 1.612, 1.625, 1.643 y 1.666 (y muchos otros números)

Galán, Diego.Diez palabras sobre Berlanga.Teruel, Spain: Instituto de Estudios Turolenses, 1990.

Galvao, Maria Rita. Burguesia e cinema: o caso Vera Cruz. Reio de Janeiro: Civilizacao Brasileira, 1981.

García Escudero, J.M. La primera apertura: diario de un director general, Barcelona: Planeta, 1978.

García Fernández, Emilio C.El cine español contemporáneo.Barcelona: Centro de Investigaciones Literarias Españolas e Hispanoamericanas, S.A., 1992.[PN1993.5 S7 G335 1992]

_________.El cine español: una propuesta didáctica.Barcelona: Centro de Investigaciones Literarias Españolas e Hispanoamericanas, S.A., 1992.

Gartnerbarg, Jon.Glosssary of filmoraphic terms.Brussels: Federation Internationale des archives du Film, 1989. [PN 1993.45 .G36 1989]

Genette, Gerard."The Subversive Potential of the Psuedo Iterative."Film Quaterly 43, no. 2 (Winter 1989-090).

Gianetti, Louis. Understanding Movies, 7-22, 37-74, 193-200, 291-293. PN1994.G47 1982

Ginferrer, Pere. Cine y literatura, 1985, PN 1995.3 .G55

Gledhill, Christine, ed. Home Is Where the Heart Is, Studies in Melodrama and the Woman's Film, Bloomington, Indiana: Indiana University Press, 1987.

Glenny, Michael and Taylor, Richard, eds.S.M. Eisenstein: Selected Works, Volume II: Towards a Theory of Montage, Indiana: Indiana University Press, 1992.

"Global Report: Spain," Variety, 45-80, Spetember 24, 1990.

Goffman, Erving.Frame Analysis: An Essay on the Organization of Experience. Cambridge, MA: Harvard Univ. Press, 1974. [HM291.G583]

Gómez de la Serna, Ramón. Cinelandia, Nostromo, 1974. [ PQ 6613.04 C5 1974.] 

Goodwin, James.Eisenstein, Cinema, and History.Champaign, IL: University of Illinois Press, 1993.

____________.Akira Kurosawa and Intertextual Cinema.Baltimore: Johns Hopkins Univ. Press, 1994. [PN 1998.3 .K87 G66 1994]

Gubern, Román. La censura: función política y ordenamiento jurídico bajo el Franquismo, 1936-1975, Barcelona: Ediciones Península, 1981.

____________. Cine español en el exilio, 1936-1939. Barcelona, Spain: Editorial Lumen, 1976.[PN 1998.A2 G8]

"Half of Heaven," Film Quarterly, Vol. XLI, no. 3, 34-37, Spring 1988.

Hardy, Ernest. "New Spanish Cinema," Chicago Sun-Times, 21 March 1997.

Hayward, Susan.Key Concepts in Cinema Studies

Heath, Stephen. Questions of Cinema, Bloomington, Indiana: Indiana University Press, 1981.

Hedges, Inez. Breaking the Frame: Film Language and the Experience of Limits, Bloomington: Indiana University Press, 1991.

Hernández Les, Juan. El Cine de Elías Querejeta, un productor singular, Bilbao: Ediciones Mensajero, 1986.[PN1998.3.Q47 H47 1986]

Hernández Les, Juan and Miguel Gato. El Cine Autor en España, Madrid: Castellote, 1978.

Higgenbotham, Virginia. Spanish Film under Franco, Austin:University of Texas Press, 1988.

Hispanics in Hollywood: An Encyclopedia ofFilm and Television, (PN 1995 .H47 R49 1994)

Historia y Cine.Realidad, Ficción y Propaganda.Coordinación: Maria Antonio Paz y Julio Montero. Madrid:Ed. Complutense 1995. (Conferencia de las jornadas "Historia y cine, organizadas en la Facultad de Ciencias de la Información de la Complutense con motivo del centenario del séptimo arte.)

"Historical Reflexivity: Saura's Anti-Carmen," Wide Angle, Vol. 9, no. 3, 52-61.

Hollander, Anne. Moving Pictures, Cambridge: University of Harvard Press, 1991.

Hooper, John. Los Españoles de Hoy, pp. 222-240.

Hopewell, John. El Cine Español después de Franco, Madrid: Ediciones El Arquero, 1989.[PN1993.5.S7 H6718 1989]

__________.Out of the Past: Spanish Cinema after Franco, London: British FIlm Institute, 1986.

International Index for Film Bibliographics

Jenkins, Henry, and Kristine Brunovska Karnick (eds.).Classical Hollywood Comedy.New York: Routledge, 1994.

"José Luis Borau On the Line of the National/International Interface in the Post-France Cinema," Film Quarterly, 35-48, Winter 1986-87.

"José Luis Borau Retrospective," The Spectator, Vol. 3, no. 2, 1-2, Spring, 1984.

Kaplan, E. Ann. Women in Film Noir, London: BFI Publishing, 1980.

__________,ed. Psychoanalysis and Cinema, Routledge, 1989. (On order Lauinger 4/1996) 


Kalink, Kathryn. Settling the Score: Music and the Classical Hollywood Film, Madison: University of Wisconsin Press, 1992.

Kapsis, Robert. Hitchcock: The Making of a Reputation, Chicago: University of Chiacago Press, 1992.

Karlin, Fred. Listening to Movies: The Film Lover's Guide to Film Music.New York: Macmillan Publ. Co., 1994.

Kellser, Douglas.Media Culture.Baltimore: John Hopkins University Press, 1995.

Keown, Dominic. "Ethics and Aesthetics in Almodóvar's Matador," Hispanic Studies in Honour of Geoffrey Ribbans, Liverpool: Liverpool University Press, 1992.

Kauffman, Stanley. Distinguishing Features. Film Criticism and Comment. Baltimore, MD: The Johns Hopkins University Press, 1994.

Kinder, Marsha. Blood Cinema: Interactive CD-ROM.Los Angeles, CA: Cine-Discs, 1994.

________, ed. Refiguring Spain: Cinema/Media/Representation.Durham, NC: Duke Univ. Press, 1997[PN1993.5.S7 R35 1997]

__________. Blood Cinema: The Reconstruction of National Identity in Spain, Berkeley, CA: Univ. of California Press, 1993.[PN1993.5.S7 K5 1993]

__________. "Carlos Saura: The Political Development of Individual Consciousness," Film Quarterly, University of California Press, Vol. XXXII, No. 2, 1979.pp 14-25.

__________. "The Children of Franco in the New Spanish Cinema,"Quarterly Review of Film Studies, Spring 1983: 343-353.

________."José Luis BorauOn the Lineof the National/International Interface in the Post-Franco Cinema," Film Quaterly, (Winter, 1986-87) Vol XL, No. 2, pp. 35-48.

_________. "Pleasure and the New Spanish Mentality:A Conversation with Pedro Almodóvar," Film Quarterly, University of California Press, Fall, 1987, pp. 33-34.

_________. "Remapping the Post Franco Cinema," Qarterly Review of Film and Video, 1991.

_________. "The Representation of Violence in the Spanish Oedipal Narrative," Blood Cinema, 1-35.

_________. "Reviews: High Heels,"Film Quarterly, 45, 3 (Spring 1992), 39-44. 

_________. Spanish Cinema: The Politics of Family and Gender, Los Angeles: The Spanish Ministry of Culture and the USC School of Cinema-Television, 1989.

_________."The Spanish Oedipal Narrative from Raza to Bilbao,"Quarterly Review of Film and Video, 13.4: 67-94.

Kovács, Katherine S. "Loss and Recuperation in the Garden of Delights," Marxist Educational Press, p. 140-146.

___________, ed. Special Issue on "The New Spanish Cinema," Quarterly Review of Film Studies, Vol. 8, No., 2, Spring, 1983.

__________."The Plain in Spain: Geography and National Identity in Spanish Cinema," Quarterly Review of Film and Video, Vol. XIII, No. 4, 1991, pp. 313-37.

Labeau, Vicky.Lost Angels.NY: 1995.

LeBeau, Bryan."Of Hollywood and History: The Columbus Movies of '92."American Studies 34, no.1 (March 1993): 151-58 [Lauinger may not have this journal].

Lehman, Peter.Running Scared: Masculinity and the Representation of the Male Body.Philadelphia: Temple Univ. Press, 1994.

Lev, Peter.The Euro-American Cinema.Austin, TX: Univ. of Texas Press.

Lewis, Carolyn. "Furtivos," Monthly Film Bulletin, 43, No. 507, 80-1, April, 1976.

Llinás, Francisco. «Los vientos y las Tempestades», El Cine y la Transición Politica Española, Valencia: Generalitat Valenciana, 1986.

López, Silvia, Jenaro Talens, and Darío Villanueva, editors.Critical Practices in Post-Franco Spain.Minneapolis: Univ. of Minnesota Press, 1994.

López-Pumarejo, Tomás. Aproximación a la Telenovela. Ediciones Catedro Signo e Imagen, 1987.

"Loss and Recuperation in The Garden of Delights," Cine-Tracts, Vol. IV, nos. 2/3, 43-54, Summer-Fall, 1981.

«Luis Buñuel and Pierre Louys: Two Visions of Obscure Objects», Cinema Journal, vol. 19, núm. 1979.

Maccabe, Colin. Tracking the Signifier: Theoretical Essays on Film, Linguistics, and Literature. Minneapolis, MN: Univ. Of Minn, 1985.

MacCann, Richard Dyer. Film: A Montage of Theories. New York: E.P. Hutton, 1966.

McFarlene, Brian. Novel to Film: An Instruction to the Theory of Adaptation. Oxford: Clarendon Press, 1966. [PN 1997.85 .M338 1996]

Maqua, Javier, y Pérez Merinero. Cine Español, Ida y Vuelta, Valencia: Fernando Torres, 1976.

Martínez Torres, Augusto.Diccionario de Directores de Cine.Madrid, Spain: Ediciones del Prado, 1992.

Maxwell, Richard. The Spectacle of Democracy: Spanish Television, Nationalism, and Political Transition. Minneapolis, MN: Univ. Of Minn. Press, 1994.

Mayne, Judith.Cinema and Spectatorship.NY: , 1993 [PN 1995.9 .A8 M28 1993]

Medem, Julio.Tierra: Guión para largometraje.Barcelona, Spain: Editorial Planeta, 1997.(on order 2/98)

Metz, Christian. Film Language. NY: Oxford University Press, 1974. 

Miró, Pilar."Ten Years of Spanish Cinema," in Literature, the Arts, and Democracy: Spain in the Eighties, edited by Samuel Amell, translated by Alma Amell.Rutherford, Madison, TeaneckFairleigh Dickinson University Press, pp. 38-46, 1990.

Mitry, Jean.La Semiología en tela de juicio: cine y lenguaje.Madrid: AKAL, 1990. [PN1995 M54818 1990]

Molina-Foix, Vicente. New Cinema in Spain, London: British Film Institute, 1977.

_______.El cine estilográfico.Barcelona: Editorial Anagrama, S.A., 1977.

Monaco, James. "Signs," How to Read a Film, 121-141, NY: Oxford University Press, 1977.

Monteath, Peter, ed.The Spanish Civil War in Literature, Film, and Art: An International Bibliography of Secondary Literature.Westport, CT: Greenwood Press, 1994.

Morgan, Rikki. "Dressed to kill," Signt and Sound, April 1992.

Morris, C.B.This Loving Darkness: The Cinema and Spanish Writers (1920-1936), New York: Oxford University Press, 1980.

Mortimer, Roger. "Reporting from Madrid . . .," Sight and Sound, 49, No. 3, 156-58, 188, Summer 1990.

Moses, Gavriel.The Nickel Was for the Movies: Film in the Novel from Pirandello to Puig.Berkeley: Univ. of California Press, 1994.

Mulvey, Laura. Visual and Other Pleasures, Bloomington, Indiana: Indiana University Press, 1989.[PN1995.9.W6 M84 1989 = 2 copies]

________. “Visual Pleasure and Narrative Cinema," Screen(Autumn), 1975.

________."Visual Pleasure and Narrative Cinema," Screen of America. Albany: State Univ. of New York Press, 1991.

Murray, Raymond.Images in the Dark: An Encyclopedia of Gay and Lesbian Film and Video.Philadelphia: TLA Publications, 1994.

Nathanson, Paul. Over the Rainbow, The Wizard of Oz as a Secular Myth of America, Albany: State University of New York Press, 1991.

The New York Times Film Reviews[Library use only: PN1995 A43 and .N4] 

The New York Times Encyclopedia of Film, Vol. 1-13 [Library use only: PN 1993 .N465 1984] 

Nichols, Bill. Representing Reality, Issues and Concepts in Documentary, Bloomington, Indiana: Indiana University Press, 1992.

"El Nido," Film Quarterly, 35, No. 1, 34-41, Fall, 1981.

Nitrato de Plata, Revista de Cine, Núm. 14, México, D.F.

Nowell-Smith, Geoffrey, ed.The Oxford History of World Cinema. Oxford: Oxford Univ. Press, 1996.[Marsha Kinder "Spain After Franco", 596-603]

Nuevo Cine Español

Ortiz Ramos, José Mario. Cinema, Estado e Lutas Culturais: Años 50/50/70. Río de Janeiro: Editora Paz e Terra, 1983.

Packer, Peter."I.F.G. Dossier: Spanish Cinema Now," Variety International Film Guide, 29-65, 1990.

Palmer, R. Barton.The Cinematic Text: methods and approaches. NY: Press, 1989.

“Parody as 'Countersong' in Saura and Godard,” Quarterly Review of Film and Video, Vol. 12, Nos. 1-2, 105-124, 1990.

Paul, William.Laughing Screaming.Modern Hollywood Horror and Comedy.New York: Columbia Univ. Press, 1994.

Payan, Miguel Juan.El cine español de los 90.Madrid: Ediciones JC, 1993.[PN1993.5.S7.P3 1993]

Peña, Richard, ed.Special issue on "Spanish and Portuguese Cinema," Journal of the University of Film and Video Association, Vo. 35, No. 3, 1983.

Pérez Gómez, Angel A. and José L. Martínez Montalbán. Cine español1951/1978:diccionario de directores.Bilbao: Mensajero, 1978.

"Pierre, Louys and Luis Buñuel: Two Visions of Obscure Objects," Cinema Journal, Vol XIX, no. 1, 86-90, Fall, 1979; reprinted in Cinema Examined, edited by Richard Dyer MacCann abd Jack C. Ellis. 

"La Politique des Auteurs: Narrative Point of View in Pascual Duarte, Novel and Film," Hispania Vol. 72, No. 1, 87-96, March 1989.

Ponga, Paula. "El sexo en los 90," Fotogramas, XLVI, 1799 (July-August 1993), 92-101.

Postman, Niel.Amusing Ourselves to Death:Public Discourse in the Age of Show Business

Pozo, Santiago. La Industria del Cine en España, Barcelona: Publicaciones y Ediciones de la Universidad de Barcelona, 1984, cap. VI.

Pribram, E. Deidre. Female Spectators. NY: Verso, 1988. [PN 1995.9 .W6 F44 1988]

Prouty, Howard H., ed.Variety and Daily Variety Television Reviews[Library use only: PN 1993 .V36]

Quarterly Review of Film Studies, ed. Katherine KovacsSpring 1983 (special edition).[Lauinger has v.11 (1989) to present]

The Querejeta Touch.

Quesada, Luis.La Novela Española y el Cine, 1986 [PN1995.3 .Q83 1986].

Renan, Ernest."What is a Nation?" Homi K. Bhabha, ed. Nation and Narration, NY: Routeledge, 1990.and Keegan Paul, pp. 8-22.

Renov, Michael.Hollywood's Wartime Woman: Representation and Ideology.Ann Arbor, Mich.: UMI Research Press, 1988.

_________.Theorizing Documentary.NY: Routledge, 1993.[PN1995.9.D6 T45 1993]

Renov, Michael and Erica Suderburg, eds. Resolutions: Contemporary Film Procters. Minneapolis, MN: Univ. Of Minn. Press, 1995.

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