Jorge Marí - Tracing the Borders of Spanish Horror Cinema and Television

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Tracing the Borders of Spanish Horror Cinema and Television

This is a superb study of contemporary Spanish horror film and TV productions from a transnational framework of analysis.

Jorge Prez, University of Kansas, USA

Timely and relevant, this book offers sophisticated and lucid readings of contemporary films and television and brilliantly maps the recent Spanish horror mania whilst advancing the academic study of Spanish horror in theoretically and historically informed ways. This is an indispensable book for anyone wishing to understand the recent boom in horror in Spanish film and television.

Sarah Wright, Royal Holloway, University of London

This critical anthology sets out to explore the boom that horror cinema and TV productions have experienced in Spain in the past two decades. It uses a range of critical and theoretical perspectives to examine a broad variety of films and filmmakers, such as works by Alejandro Amenbar, lex de la Iglesia, Pedro Almodvar, Guillermo del Toro, Juan Antonio Bayona, and Jaume Balaguer and Paco Plaza. The volume revolves around a set of fundamental questions: What are the causes for this new Spanish horror-mania? What cultural anxieties and desires, ideological motives and practical interests may be behind such boom? Is there anything specifically Spanish about the Spanish horror film and TV productions, any distinctive traits different from Hollywood and other European models that may be associated to the particular political, social, economic or cultural circumstances of contemporary Spain?

Jorge Mar is Professor of Hispanic Studies at North Carolina State University, USA. His books include Lecturas espectaculares: el cine en la novela espaola desde 1970 and the co-edited volume Ventanas sobre el Atlntico: Estados Unidos-Espaa durante el postfranquismo, 19752008. He has published numerous essays on Spanish cultural studies, film, literature, and music.

Routledge Research in Cultural and Media Studies

For a full list of titles in this series, please visit www.routledge.com.

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104 Politics, Media and Democracy in Australia
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Brian McNair, Terry Flew, Stephen Harrington, and Adam Swift

105 Spectral Spaces and Hauntings
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107 Tracing the Borders of Spanish Horror Cinema and Television
Edited by Jorge Mar

First published 2017
by Routledge
711 Third Avenue, New York, NY 10017

and by Routledge
2 Park Square, Milton Park, Abingdon, Oxon OX14 4RN

Routledge is an imprint of the Taylor & Francis Group, an informa business

2017 Taylor & Francis

The right of the editor to be identified as the author of the editorial material, and of the authors for their individual chapters, has been asserted in accordance with sections 77 and 78 of the Copyright, Designs and Patents Act 1988.

All rights reserved. No part of this book may be reprinted or reproduced or utilised in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publishers.

Trademark notice: Product or corporate names may be trademarks or registered trademarks, and are used only for identification and explanation without intent to infringe.

Library of Congress Cataloging-in-Publication Data

Names: Mar, Jorge, editor.
Title: Tracing the borders of Spanish horror cinema and television / edited by Jorge Mar.
Description: New York: Routledge, 2017. | Series: Routledge research in cultural and media studies; 107 | Includes bibliographical references and index.
Identifiers: LCCN 2017001425
Subjects: LCSH: Horror filmsSpainHistory and criticism. | Horror television programsSpainHistory and criticism.
Classification: LCC PN1995.9.H6 T7 2017 | DDC 791.43/61640946dc23
LC record available at https://lccn.loc.gov/2017001425

ISBN: 978-0-415-34863-8 (hbk)
ISBN: 978-1-315-22924-9 (ebk)

Typeset in Sabon
by codeMantra

Quite literally, this book would not exist without the contributions of the fourteen scholars who devoted their time, enormous talent, and hard work to carry it to completion. Thank you all for your generosity, patience, flexibility, and trust.

The students in my Spanish, Film Studies, and MALS classes at NC State University provided the initial inspiration for this project and have served as testbeds for parts of itboth knowingly and otherwise. Thank you for lending me your (f)ears.

I am grateful for the support of the Department of Foreign Languages and Literatures at NC State University and much appreciative for the encouragement and financial aid provided by its head, Ruth Gross, over the years.

I am also grateful to my colleagues in Film Studies at NC State, particularly Marsha Gordon and (former NC State faculty) Maria Pramaggiore, for the support, the inspiration, and the opportunity to spread horror beyond the confines of my home department.

Many thanks to Sarah Thomas for inviting me to present what was very much a work in progress at the symposium she organized in Brown University in May, 2014. I am also indebted to her for suggesting the title Tracing the Borders of Spanish Horror Cinema for my presentation, which would end up becoming the title for the volume. Thanks to the other participants in the symposium for their attention and their feedback.

Many thanks to my friend and colleague Mike Garval for opening to me the doors of the MALS program, thus allowing me to take horror to a new (graduate) level. Mike, thanks also for the great conversations and for the endless thrills provided by your driving.

My deep gratitude to Shelley Garrigan and Diana Arbaiza for their friendship, contagious energy, sense of humor, and intellectual stimulus. Thanks to Shelleys son, Ari, for his inspired drawings and his crucial insights about zombies.

I am grateful to the Arizona Journal of Hispanic Cultural Studies, and especially to its executive editor, Malcolm Compitello, for granting permission to print a translated version of Vctor Pueyos essay. Thank you to Liverpool University Press for permission to reprint Martin Barniers essay.

Thanks to Sarah Booker for her fine translation of Jean-Claude Seguins essay and for her willingness to assist with the editing of the manuscript.

Everybody at Routledge has been enormously kind, helpful, supportive, and professional. Most special thanks to my editor, Felisa Salvago-Keyes, and to editorial assistant, Christina Kowalski for making the whole process swift, easy and virtually painless. Thanks also to the project manager Assunta Petrone and copy editor Camille Trentacoste. I am also very grateful to the anonymous readers for their careful evaluation, their thoughtful feedback and their useful suggestions to the proposal.

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