Bibliography
Acevedo-Muñoz, Enrique (2006) ‘Melo-Thriller: Hitchcock, Genre, and Nationalism in Pedro Almodóvar’s Women on the Verge of a Nervous Breakdown’ in David Boyd and R. Barton Palmer (eds) After Hitchcock: Influence, Imitation, and Intertextuality. Austin, TX: University of Texas Press, 173-194.
—— (2009) Pedro Almodóvar. London: British Film Institute.
Ades, Dawn (2000) Dalí’s Optical Illusions. New Haven, CT: Wadsworth Atheneum Museum of Art/Yale University Press.
Aguilar, Carlos (ed.) (2005) Cine fantástico y de terror español 1984–2004. Donostia-San Sebastián: Semana de Cine Fantástico y de Terror de San Sebastián-Donostia Kultura.
Alcalá, Manuel, Norberto Alcover Ibánez and Equipo Reseña (1977) La cultura española durante el franquismo. Bilbao: Ediciones Mensajero.
Allen, Richard (2007) Hitchcock’s Romantic Irony. New York: Columbia University Press.
Allison, Mark (2001) A Spanish Labyrinth: The Films of Pedro Almodóvar. London: IB Tauris.
—— (2009) ‘Mimesis and Diegesis: Almodóvar and the Limits of Melodrama’, All About Almodóvar: A Passion for Cinema. Minneapolis: University of Minnesota Press, 141-165.
Almodóvar, Pedro (2002) ‘Hable con ella’ Fotografías de Pedro Almodóvar. Madrid: FNAC España y El Deseo.
—— (2004) La mala educación: Guión cinematográfica. Madrid: Ocho y Medio.
—— (2012) La piel que habito. Barcelona: Editorial Anagrama.
Almodóvar, Pedro, Juan Gatti, Catherine Millet, Matthieu Orléan, Frédéric Strauss, Antonio Tabucchi and Sergio Toblana (2006) ¡Almodóvar: Exhibition! Catalogue of the Exhibition, 5 April-31 July. Paris: Editions du Panama, La Cinémathèque Française.
Amador, María L. and Jorge Ayala Blanco (1980) Cartelera cinematográfica, 1930–1939. México DF: Universidad Nacional Autónoma de México.
—— (1982) Cartelera cinematográfica, 1940–1949. México DF: Universidad Nacional Autónoma de México.
—— (1985) Cartelera cinematográfica, 1950–59. México DF: Universidad Nacional Autónoma de México.
Anderson, Benedict (1991) Imagined Communities: Reflections on the Origins and Spread of Nationalism, rev. ed. London: Verso.
Angulo, Jesús and Antonio Santamarina (2012) Álex de la Iglesia. La pasión de rodar. Donostia/San Sebastián: Euskadiko Filmategia/Filmoteca Vasca.
Anon. (1951–1974) Cine asesor. Madrid.
—— (1981) Fernando de Fuentes. Cuatro películas mudas mexicanas. Cartelera cinematográfica, 1960–1969. México: Centro de Capacitación Cinematográfica.
—— (1997) ‘El cine en España,’ Dirigido 258, June, 74.
—— (2004) ‘Alejandro Amenábar: “No me importa reconocer que soy gay”’, Cooperativa, 31 August. http://www.cooperativa.cl/p4_noticias/site/artic/20040831/pags/20040831125516.html (accessed 10 June 2014).
Appadurai, Arjun (1996) Modernity at Large: Cultural Dimensions of Globalization. Minneapolis: University of Minnesota Press.
Atkinson, Michael (2008) ‘Hellboy II: The Golden Army’, Sight and Sound; http://old.BritishFilmInstitute.org.uk/sightandsound/review/4453 (accessed 24 June 2014).
Aulier, Dan (1998) Vertigo: The Making of a Hitchcock Classic. New York: St. Martin’s Press.
Aviña, Rafael (2004) Una mirada insólita: Temas y géneros del cine mexicano. Mexico City: Cineteca Nacional and Editorial Océano de México.
Ballesteros, Isolina (2013) ‘Women on the Verge of a Nervous Breakdown: From Madrid (1988) to New York (2010)’, in Marvin D’Lugo and Kathleen M. Vernon (eds) A Companion to Pedro Almodóvar. Chichester: Wiley-Blackwell, 367-386.
Barroso, Miguel Angel and Fernando Gil-Delgado (2002) Cine español en Cien películas. Madrid: Jaguar.
Basterra, Francisco G. (1989) ‘Pedro Almodóvar pierde el Oscar y rompe con Carmen Maura en Hollywood’, El País, 31 March; http://elpais.com/diario/1989/03/31/cultura/607298411_850215.html (accessed 15 March 2014).
Batlle, Diego (2013) ‘Metegol, de José Juan Campanella’, 18 July; http://www.otroscines.com/criticas_detalle.php?idnota=7605 (accessed 27 June 2014).
Belinchón, Gregorio (2013) ‘El último gol de Campanella’, El País, 28 December; http://elpais.com/elpais/2013/12/26/eps/1388084713_003491.html (accessed 30 June 2014).
Beltrán, Mary (2005) ‘The New Hollywood Racelessness: Only the Fast, Furious (and Multiracial) Will Survive’, Cinema Journal, 44, 2, 50–67.
Benamou, Catherine (2007) It’s All True: Orson Welles’s Pan-American Odyssey. Berkeley, CA: University of California Press.
Benjamin, Walter (1969) Illuminations. Ed. by Hannah Arendt, Trans. by Harry Zohn. New York: Schocken Books.
Bernardinelli, James (1997) ‘Mimic’; http://www.imdb.com/reviews/84/8497.html (accessed 20 June 2014).
—— (2002) ‘Blade IIhttp://www.reelviews.net/php_review_template.php?identifier=1443
—— (2004) ‘Bad Educationhttp://www.reelviews.net/php_review_template.php?identifier=1971
Bloom, Harold (1997) The Anxiety of Influence: A Theory of Poetry. 2nd edition. Oxford: Oxford University Press.
Bogdanovich, Peter (1963) The Cinema of Alfred Hitchcock. New York: The Museum of Modern Art.
Bolín, Guillermo (1958) ‘Vertigo’, Blanco y negro, 2414, 9 August, 63–5.
Borau, José Luis (ed.) (1998) Diccionario del cine español. Madrid: Alianza.
Boyd, David (ed.) (1985) Perspectives on Hitchcock. New York: Prentice Hall.
Boyero, Carlos (2008) ‘Matemática brillante y fría’, El País, 18 January.
—— (2009) ‘Tan respectable como fría,’ El País, 9 October.
—— (2010) ‘Álex de la Iglesia arriesga y gana,’ El País, 8 September.
Boyd, David and R. Barton Palmer (eds) (2006) After Hitchcock: Influence, Imitation, and Intertextuality. Austin: University of Texas Press.
Brega, Narciso (2009) ‘Poné a Francella’, El amante, 208, 23 September.
Brody, Richard (2014) ‘“Film Noir”: The Elusive Genre,’ The New Yorker, 23 July; http://www.newyorker.com/culture/richard-brody/film-noir-elusive-genre-2 (accessed 2 September 2014).
Brussat, Frederic and Maryann Brussat (1991) ‘The Boy Who Cried Bitch’, Spirituality and Practice, September; https://www.spiritualityandpractice.com/films/films.php?id=6283 (accessed 25 June 2014).
Brutvan, Cheryl (2008) Antonio López García. Boston: Museum of Fine Arts.
Bryne, Barry (2008) ‘The Oxford Murders’, Screen International, 1637, 21 March.
Buse, Peter, Núria Triana Toribio and Andy Willis (2007) The Cinema of Álex de la Iglesia. Manchester: Manchester University Press.
Camí-Vela, María (2001) Mujeres detrás de la cámara. Entrevistas con cineastas españolas de la década de los 90. Madrid: Ocho y Medio.
Caparrós Lera, and José María Caparrós (1999) Historia crítica del cine español (Desde 1987 hasta hoy). Madrid: Ariel.
Casas, Quim (2004) ‘Guillermo del Toro (II): Itinerario del relato gótico’, Dirigido, 338, 46–59.
Castro de la Paz, José Luis (1999) El surgimiento del telefilme: Los años cincuenta y la crisis de Hollywood: Alfred Hitchcock y la televisión. Barcelona: Paidós.
—— (2000) Alfred Hitchcock. Madrid: Cátedra.
Cervantes Saavedra, Miguel de (1977) ‘Donde se cuenta la novela del Curioso impertinente’ (XXXIII), ‘Donde se prosigue la novela del curioso impertinente’ (XXXIV), ‘Donde se da fin a la novela del Curioso impertinente,’ Don Quijote de la Mancha I (ed) John Jay Allen. Madrid, Cátedra, 383–426.
Chavez, Kellvin (2004) ‘Interview with Guillermo del Toro’; http://latinoreview.com/films_2004/sonypictures/hellboy/guillermo.html (accessed July 2008).
Cochran, Sara (2007) ‘Spellbound’, Dalí and Film. Catalog to the Exhibition at the Tate, MoMA, and Fundación Dalí. New York: Museum of Modern Art.
Codell, Julie F. (ed.) (2006) Genre, Gender, Race and World Cinema. Chichester and Malden, MA: Wiley-Blackwell.
Comas, Angel (2002) De entre los muertos/Vértigo. Chinatown. Barcelona: Dirigido.
Compitello, Malcolm (1999) ‘From Planning to Design: The Culture of Flexible Accumulation in Post-Cambio Madrid’, AJHCS, 3, 199–219.
Cook, William (2009) ‘The Master and Murnau’, The Guardian, 27 February. http://www.theguardian.com/film/2009/feb/27/alfred-hitchcock-berlin (accessed 25 June 2014)
Correa Ulloa, Juan David (2005) Pedro Almodóvar: Alguien del montón. Bogotá: Panamericana Editorial.
Costa, Jordi (2008) ‘En contra: ‘Los crímenes de Oxford’, Fotogramas, January; http://www.fotogramas.es/Peliculas/Los-crimenes-de-Oxford/Critica (accessed 4 June 2014).
Cox, Alex (2008) ‘I gave my right arm to be in this film’, The Guardian, 17 April.
Cozarinksy, Edgardo (1974) Borges y el cine. Buenos Aires: Sur.
Cruz, Ana (2008) Bertha Navarro: Cineasta sin fronteras. Guadalajara: Universidad de Guadalajara.
Cruz, Gilbert (2011) ’10 Questions for Guillermo del Toro’, Time, 5 September; http://content.time.com/time/magazine/article/0,9171,2090370,00.html (accessed 21 June 2014).
De la Iglesia, Alex (2011) ‘Discurso íntegro de Álex de la Iglesia, Gala, 25 Premios Goya’, El Mundo, 14 February; http://www.elmundo.es/elmundo/2011/02/14/cultura/1297639056.html accessed 4 June 2014).
De la Iglesia, Alex and Jorge Guerrichaechevarría (2008) Los crímenes de Oxford, guión cinematográfica. Madrid: Ocho y Medio.
Del Toro, Guillermo (1990) Alfred Hitchcock. Guadalajara: Universidad de Guadalajara.
—— (2006) El laberinto del fauno. Guión cinematográfico de Guillermo del Toro. Madrid: Ocho y Medio.
—— (2008) ‘Entrevista: Guillermo del Toro confesó su temor de ser secuestrado en México’, 11 December. http://www.informador.com.mx/entretenimiento/2008/61796/6/guillermo-del-toro-confeso-su-temor-de-ser-secuestrado-en-mexico.htm.
—— (2009) Hitchcock por Guillermo del Toro. Madrid: Espasa.
Del Toro, Guillermo and Chuck Hogan (2009) The Strain. New York: HarperCollins.
—— (2010) The Fall. New York: HarperCollins.
De Prada, Juan Manuel (1997) ‘“El Día de la Bestia”: De Madrid al Apocalípsis’, Madrid en el cine, Nickel Odeon, 7, 196–8.
Deutelbaum, Marshall and Leland Poague (eds) (2009) A Hitchcock Reader. Chichester: Wiley-Blackwell.
Deveny, Thomas (2010) ‘Alejandro Amenábar, composer’, Bulletin of Spanish Studies, 87, 2, 195–224.
Diéguez, Antonio (2014) ‘Amenábar ficha a Emma Watson para su próxima película’, El Mundo, 14 February; http://www.elmundo.es/loc/2014/02/14/52fcf040ca474177318b457c.html (accessed 7 September 2014).
D’Lugo, Marvin (1997) Guide to the Cinema of Spain. Westport, CT: Greenwood Press.
—— (2006) Pedro Almodóvar. Urbana, IL: University of Illinois Press.
D’Lugo, Marvin and Kathleen M. Vernon (eds) (2013) A Companion to Pedro Almodóvar. Chichester: Wiley-Blackwell.
Ebert, Roger (1994) ‘Cronos’, 6 May; http://www.rogerebert.com/reviews/cronos-1994.
—— (1998) ‘Love Walked In’, 20 February; http://www.rogerebert.com/reviews/love-walked-in-1998.
—— (2004) ‘Bad Education’, 21 December; http://www.rogerebert.com/reviews/bad-education-2004.
—— (2005) ‘El Crimen Perfecto: An Imperfect Crime Comedy’, Chicago Sun Times, 2 September; http://www.rogerebert.com/reviews/el-crimen-perfecto-2005.
—— (2009) ‘Broken Embraces’, 16 December; http://www.rogerebert.com/reviews/brokenembraces-2009.
Elena, Alberto and Marina Díaz López (eds) (2003) The Cinema of Latin America. London and New York: Wallflower Press.
Epps, Brad and Despina Kakoudaki (eds) (2009) All About Almodóvar: A Passion for Cinema. Minneapolis: Minneapolis, MN: University of Minnesota Press.
Epstein, Daniel Robert (2003) ‘Guillermo del Toro’, 3 November; https://suicidegirls.com/girls/anderswolleck/blog/2678868/guillermo-del-toro/ (accessed 20 June 2014).
Estivill, Josep (2009) ‘El espíritu del caos: Irregularidades en la censura cinematográfica durante la inmediata postguerra’ (‘The Spirit of Chaos: Irregularities in Cinematographic Censorship during the Immediate Post War Period’) in Laura Gómez Vaquero and Daniel Sánchez Salas (eds) El espíritu del caos: Representación y recepción de las imágenes durante el Franquismo. Madrid: Ocho y Medio, 63–84.
Estrada, Marién (2007) ‘“¡Corte!…¡corte!…¡y más corte!”: La censura en el cine mexicano’ (‘“Cut!… Cut!… and More Cuts!”: Censorship in Mexican Cinema’), Fundación Manuel Buendía; http://mexicanadecominicacion.com.mx/fmb/foromex/censura.htm (accessed May 2010).
Evans, Peter William (1996) Women on the Verge of a Nervous Breakdown. London: British Film Institute.
—— (1999) Spanish Cinema: The Auteurist Tradition. Oxford: Oxford University Press.
—— (2005) ‘Las citas fílmicas en las películas de Almodóvar’, Almodóvar: el cine como pasión. Cuenca: Ediciones de la Universidad Castilla-La Mancha, 155–160.
Falicov, Tamara (2007) The Cinematic Tango: Contemporary Argentine Film. London and New York: Wallflower Press.
Fein, Seth (2001) ‘Myths of Cultural Imperialism and Nationalism in Golden Age Mexican Cinema’, in Gilbert M. Joseph, Anne Rubenstein and Eric Zolov (eds) Fragments of a Golden Age: The Politics of Culture in Mexico Since 1940. Chapel Hill, NC: Duke University Press, 159–98.
Feinman, José Pablo (1981) Ni el tiro del final. Buenos Aires: Editorial Pomaire.
Fernández, Fausto (2008) ‘A favor: “Los crímenes de Oxford”’, Fotogramas, January; http://www.fotogramas.es/Peliculas/Los-crimenes-de-Oxford/Critica (accessed 4 June 2014).
Fernández Cuenca, Carlos (1972) La Guerra de España y el cine. Madrid: Editora Nacional.
—— (1974) El cine británico de Alfred Hitchcock. Madrid: Editorial Nacional.
Fernández-Santos, Elsa (2002) ‘“Me gustan los perdedores felices”: Álex de la Iglesia estrena “800 balas” un “western” que retoma su idea de la épica de lo ridículo’, El País, 18 October.
Fernández Valenti, Tomás (2004) ‘El hombre y el demonio’, Dirigido, 337, 26–8.
Feuer, Alan (2009) ‘The Trauma Surgeon of Wall Street’, New York Times, 13 November, MB1.
Floristán (1947) ‘Alfredo Hitchcock y Wagner,’ ‘Rapsodia de la Quincena’, Fotogramas II, 7, 15 February, n.p.
Fontanarrosa, Roberto (n.d.) ‘Memorias de un wing derecho; http://www.rosario.gov.ar/mr/multimedia/repositorio/semana-de-la-lectura/memorias-de-un-wing-derecho (accessed 27 June 2014).
Foucault, Michel (1995) Discipline and Punish: The Birth of the Prison. Trans. Alan Sheridan Smith. New York: Vintage.
—— (2002) Archaeology of Knowledge. Trans. Alan Sheridan Smith. New York: Routledge.
Francis, James, Jr. (2013) Remaking Horror: Hollywood’s New Reliance on Scares of Old. Jefferson, NC: McFarland.
Freixas, Ramon (2002) ‘“800 balas”: Los restos del naufragio’, Dirigido, 317, 13.
Fuentes, Victor (1995) ‘Almodóvar’s Postmodern Cinema: A Work in Progress’, Post-Franco, Postmodern: The Films of Pedro Almodóvar. Westport, CT: Greenwood P, 155–170.
Fuentes Rodríguez, César (2007) Mundo gótico. Barcelona: Quarentena Ediciones.
Gale, Matthew (ed.) (2007) Dalí and Film. New York: Museum of Modern Art.
Garci, José Luis (2013) Noir. Madrid: Notorious Ediciones.
García, Lorena (1999) ‘Cine local, como de Hollywood’, La Nación, 15 September.
—— (2003) ‘El “professor” Campanella’, La Nación, 20 June; http://www.lanacion.com.ar/505004-el-profesor-campanella (accessed 25 June 2014).
García Canclini, Nestor (2004) Diferentes, desiguales y desconectados: mapas de la interculturidad. Barcelona: Gedisa.
García Escudero, José María (1961) ‘Cultura y televisión’, Film Ideal, 74, 18–19.
García Riera, Emilio (1998) Breve historia del cine mexicano, Primer Siglo (1897–1997). México, D.F. and Zapopan, Jalisco: Instituto Méxicano de Cinematografía and Ediciones MAPA.
Gil, Alberto (2009) La censura cinematográfico en España. Barcelona: S. A. Ediciones.
González González, Luis Mariano (2009) (eds) Fascismo, ‘kitsch’ y cine histórico español (1939–1953). Cuenca: Ediciones de la Universidad Castilla-La Mancha.
Gómez Vaquero, Laura and Daniel Sánchez Salas (2009) in Laura Gómez Vaquero and Daniel Sánchez Salas (eds) El espíritu del caos: Representación y recepción de las imágenes durante el Franquismo. Madrid: Ocho y Medio.
González-Sinde, Ángeles (2010) ‘12263 Orden CUL/2073/2010, de 14 de julio, por la que se concede el Premio Nacional de Cinematografía correspondiente a 2010’, Boletín de Estado 184, Sec. III, 66465.
Goodale, Gloria (2010) ‘“The Closer” opened roles for women – and for basic cable’, The Christian Science Monitor, 12 July; http://www.csmonitor.com/USA/2010/0712/The-Closer-opened-doors-for-women-and-for-basic-cable (accessed 28 June 2014).
Goscinny, René and Albert Uderzo (1974) Les Lauriers de César. Paris: Hachette.
Gottlieb, Sydney (1995) Hitchcock on Hitchcock: Selected Writings and Interviews. Berkeley, CA: University of California Press.
Graham, Helen and Jo Labanyi (1995) Spanish Cultural Studies: An Introduction. London: Oxford University Press.
Greydanus, Stephen D. (2010) ‘A History of Violence: Agora, Hypatia and Enlightenment Mythology’, Decent Film Guide; http://www.decentfilms.com/articles/agora (accessed 13 June 2014).
Grimes, William (2009) ‘Robin Wood, Critic and Hitchcock Fan, Dies at 78’, New York Times, 23 December, B15.
Gubern, Román (2005) Historia del cine español. Madrid: Cátedra.
Güell, María (2008) ‘Cuanto mejor es un actor, más fácil resulta trabajar con él’, ABC- Sevilla, 18 January, 76.
Guillen, Michael (2009) ‘Evening Class with Juan José Campanella’, Micropsia, 27 September; http://micropsia.blogspot.com/2009/09/evening-class-interview-with-juan-jose.html (accessed 28 June 2014).
Guimón, Pablo (2007) ‘De las malas calles a Freixenet’, El País, 27 November.
Guthman, Edward (2000) ‘Sexy, Violent “Perdita” Finally Arrives in U.S. / Tiny unauthorized “Vera Cruz” clip held up release’, San Francisco Chronicle, 16 January; http://articles.sfgate.com/2000–01–16/entertainment/17634715_1_perdita-durango-arnold-schwarzenegger-film-directed.
Halbfinger, David and Sharon Waxman (2007) ‘The Departed Wins Best Picture, Scorsese Best Director’, New York Times, 26 February.
Harrington, Richard (1994) ‘Cronos’, Washington Post, 22 May; http://www.washingtonpost.com/wpsrv/style/longterm/movies/videos/cronosnrharrington_a0abc7.htm (accessed 20 June 2014).
Hayer, Chris (2014) ‘“The Strain”: Corey Stoll used Orson Welles as inspiration for Ephraim Goodweather’, 10 July. http://www.zap2it.com/blogs/the_strain_corey_stoll_orson_welles_ephraim_goodweather-2014–07 (Accessed 18 July 2014)
Hergé (George Prosper Remi) (1974) King Ottokar’s Sceptre (The Adventures of Tintin). Boston: Little, Brown and Company.
—— (1975) Tintin in Tibet (The Adventures of Tintin). Boston: Little, Brown and Company.
—— (1976) The Calculus Affair (The Adventures of Tintin). Boston: Little, Brown and Company.
—— (1979) Tintin in America (The Adventures of Tintin). Boston: Little, Brown and Company.
—— (2009) The Adventures of Tintin, vol. 7: The Castafiore Emerald/Flight714/Tintin and the Picaros. New York: Little, Brown Books for Young Readers, Hachette Book Group.
Heredero, Carlos F. (1994) El lenguaje de la luz: Entrevistas con directores de fotografía del cine español. Alcalá de Henares: Festival de cine de Alcalá de Henares.
—— (1997) ‘Carne trémula: “Thriller” pasional y carencias emocionales’, Dirigido, 261 (October), 22–3.
—— (1997) Espejo de miradas: Entrevistas con nuevos directores del cine español de los años noventa. Alcalá de Henares: Gráficos Ballesteros, Festival de Cine de Alcalá de Henares, Fundación Colegio del Rey, Comunidad de Madrid, Caja de Asturias, Fundación Autor, Filmoteca de Generalitat Valenciana.
—— (1999) 20 nuevos directores del cine español. Madrid: Alianza.
Hernández, Omar and Emile McAnany (2001) ‘Cultural Industries in the Free Trade Age: A Look at Mexican Television’, in Gilbert M. Joseph, Anne Rubenstein and Eric Zolov (eds) Fragments of a Golden Age: The Politics of Culture in Mexico Since 1940. Chapel Hill, NC: Duke University Press, 389–414.
Higginbotham, Virginia (1998) Spanish Film Under Franco. Austin: University of Texas Press.
Hirschberg, Lynn (2004) ‘The Redeemer’, New York Times Magazine (5 September), n.p.; http://www.nytimes.com/2004/09/05/magazine/05ALMODOVAR.html?_r=0 (accessed 5 March 2014).
Hodkinson, Paul E. (2002) Goth: Identity, Style and Subculture. Oxford: Berg.
Holcomb, Mark (2002) ‘Monsters, Inc.’, Village Voice, 26 March; http://www.villagevoice.com/2002–03–26/film/monsters-inc/ (accessed 21 June 2014).
Holden, Stephen (1998) ‘“Love Walked In”: Torch Songs and a Suspicious Wife,’ New York Times, 20 February; http://www.nytimes.com/library/film/022098walked-film-review.html (accessed 26 June 2014).
—— (2001) ‘Plastic Surgery Takes a Science Fiction Twist’, New York Times, 14 December.
—— (2002) ‘Son of the Bride’, New York Times, 22 March; http://www.nytimes.com/movie/review?res=980DE4DD1F38F931A15750C0A9649C8B63 (accessed 27 June 2014).
—— (2004) ‘Lured by Stories and an Ambiguous Femme Fatale’, New York Times (9 October), n.p.; http://www.nytimes.com/2004/10/09/movies/09bad.html (accessed 11 March 2014).
Holland, Jonathan (2008) ‘Review: “The Oxford Murders”’, Variety, 29 January; http://variety.com/2008/film/reviews/the-oxford-murders-1200548576/ (accessed 4 June 2014).
Hopewell, John (1986) The Spaniards: A Portrait of the New Spain. New York: Viking.
—— (1989) El cine español después de Franco. Madrid: El Arquero.
—— (2014) ‘Telefónica Studios Boards Alejandro Amenábar’s “Regresión”’, Variety, 10 June; http://variety.com/2014/film/news/telefonica-studios-boards-alejandro-amenabarsregression-1201217318/ (accessed 14 June 2014).
Izaguirre, Boris (2005) El armario secreto de Hitchcock. Madrid: Espasa.
Ivachow, Lilian Laura (2009) ‘Pesos (de) ley’, El amante, 208, 18.
Jackson, Kevin (2008) ‘Behind the scene at the museum’, Sight and Sound, 18, May, 10.
Jonquet, Thierry (2002) Mygale, trans. Donald Nicholson-Smith. San Francisco: City Lights.
Jordan, Barry (2012) Alejandro Amenábar. Manchester: Manchester University Press.
Jordan, Barry and Rikki Morgan-Tamosunas (1988) Contemporary Spanish Cinema. Manchester: Manchester University Press.
Karstulovich, Federico (2009) ‘Principiantes’, El amante 208, 19.
Keane, Marion (1999) ‘39 Steps’, Liner notes, Criterion Collection, Janus Films.
Kehr, David (2010) ‘It Leaps (Gasp!) Off the Screen’, New York Times, 10 August, C1.
Kercher, Dona (2002a) ‘Hitting the Mark from Television to Film: Violence, Timing and the Comedy Team in Álex de la Iglesia’s Muertos de risa (1999)’, Post Script: Essays in Film and the Humanities, Special Issue on Spanish Cinema, 21, 2, 50–63.
—— (2002b) ‘Looking for Don Quijote’s Own Shadow: An Interview with Manuel Gutiérrez Aragón about His Film El caballero Don Quijote (2002)’, Arizona Journal of Hispanic Cultural Studies, 6, 129–40.
—— (2005) ‘Violence, Timing and the Comedy Team in Álex de la Iglesia’s Muertos de risa’, in Xavier Mendik and Ernest Mathjis (eds)Alternative Europe: Eurotrash and Exploitation Cinema Since 1945. London and New York: Wallflower Press, 53–63.
—— (2013) ‘Almodóvar and Hitchcock: A Sorcerer’s Apprentice’ in Marvin D’Lugo and Kathleen M. Vernon (eds) A Companion to Pedro Almodóvar. Chichester: Wiley-Blackwell, 59-87.
Keogh, Peter (1998) ‘Love Walked In’, The Boston Phoenix, 23 February; http://www.filmvault.com/filmvault/boston/l/lovewalkedin1.html (accessed 26 June 2014).
Keyser, Les and Barbara Keyser (1984) Hollywood and the Catholic Church: The Image of Roman Catholicism in American Movies. Chicago: Loyola University Press.
Kinder, Marsha (1987) ‘Pleasure and the New Spanish Mentality: A Conversation with Pedro Almodóvar,’ Film Quarterly 41.1, 33–44.
—— (1993) Blood Cinema: The Reconstruction of National Identity in Spain. Berkeley: University of California Press.
—— (2004) ‘Reinventing the Motherland: Almodóvar’s Brain-Dead Trilogy’, Film Quarterly 58.2, 9–25.
—— (2005) ‘Reinventar la patria: la trilogía de Almodóvar sobre la muerte cerebral’, Almodóvar: el cine como pasión. Cuenca: Ediciones de la Universidad de Castilla-La Mancha, 257–268.
Kinder, Marsha (ed.) (1997) Refiguring Spain: Cinema, Media and Representation. Chapel Hill, NC: Duke University Press.
King, John (2000) Magical Reels: A History of Cinema in Latin America. London: Verso.
Kloster, Alberto D. (2003) ‘Carlos Trillo. Sinónimo de éxito, permanencia y persistencia’, Tebeosfera, 031019; http://www.tebeosfera.com/1/Documento/Articulo/Guionistas/Carlos/Trillo.htm (accessed 25 June 2014).
Koemer, Joseph Leo (2009) Caspar David Friedrich and the Subject of Landscape. London: Reaktion.
Kolker, Robert (ed.) (2004) Alfred Hitchcock’s ‘Psycho’: A Casebook. New York: Oxford University Press.
Lázaro-Repoll, Antonio (2007) ‘The Transnational Reception of “El espinazo del diablo” (Guillermo del Toro 2001)’, Hispanic Research Journal, 8, 1, 39–51.
Leff, Leonard (1999) Hitchcock and Selznick: The Rich and Strange Collaboration of Alfred Hitchcock and David O. Selznick in Hollywood. Berkeley, CA: University of California Press.
Lerman, Gabriel (1997) ‘Entrevista: Guillermo del Toro’, Dirigido, 261, 51–3.
—— (2004) ‘Guillermo del Toro’, Dirigido, 337, 29–31.
Lev, Leora (2000) ‘Tesis, Review of the Film’, Film Quarterly, 54, 1, 34–8.
Lewis, David (2010) ‘Review: “The Oxford Murders,” a boring whodoneit’, The San Francisco Chronicle, 13 August; http://www.sfgate.com/movies/article/Review-Oxford-Murders-a-boring-whodunit-3256157.php (accessed 4 June 2014).
López, Antonio (1993) Antonio López García: Exposición antológica. Pintura. Escultura. Dibujo. Madrid, May-July. Madrid: Museo Nacional Centro de Arte Reina Sofía.
López, Fernando (2001) ‘Expertos en comedias emotivas’, La Nación, 16 August.; http://www.lanacion.com.ar/327864-expertos-en-comedias-emotivas (accessed 27 June 2014).
Losilla, Carlos (1998) ‘Hitchcock a la sombra del cine negro’, Dirigido, 269, 60–3.
—— (2005) ‘El pisito y El cochecito de Marco Ferreri’, Dirigido, 346, June, 70–7.
Manuel, Don Juan (1969) El conde Lucanor o Libro de los enxiemplos del Conde Lucanor e de Patronio. Ed. José Manuel Blecua. Madrid: Editorial Castalia.
Marsh, Steven and Parvati Nair (2004) Gender and Spanish Cinema. Oxford: Berg.
Martin-Márquez, Susan (1999) Feminist Discourse and Spanish Cinema. Oxford: Oxford University Press.
Martialay, Félix (1964) ‘Alienación: Verdad y aparencia’, Film Ideal, 158, 15 December, 827–30.
Martín-Barbero, Jesús (1987) De los medios a las mediaciones: Comunicación, cultura y hegemonía. Mexico: Ediciones G. Gili.
Martínez, Adolfo C. (1991) ‘Un policial que falló la puntería’, La Nación, 14 January; http://www.lanacion.com.ar/124544-un-policial-que-fallo-la-punteria (accessed 26 June 2014).
—— (2009) ‘Juego de mentiras, verdades y secretos’, La Nación, 13 August; http://www.lanacion.com.ar/1161592-juego-de-mentiras-verdades-y-secretos (accessed 30 June 2014).
Maslin, Janet (1997) ‘“Mimic”: The 6-ft. Cockroach, Waiting for the Train’, New York Times, 22 August; http://www.nytimes.com/movie/review?res=9E07EED6143EF931A1575BC0A961958260.
Martínez, Guillermo (2004) Los crímenes de Oxford. Barcelona: Destino.
Mazdon, Lucy (2000) Encore Hollywood: Remaking French Cinema. London: British Film Institute.
McDonald, Paul and Janet Wasko (eds) (2008) The Contemporary Hollywood Film Industry. Chichester: Wiley-Blackwell.
McDevitt, Jim and Eric San Juan (2009) A Year of Hitchcock: 52 Weeks with the Master of Suspense. Lanham, MD: Scarecrow Press.
McFarland, James Francis, Jr. (2013) Remaking Horror: Hollywood’s New Reliance on Scares of Old. Jefferson, NC: McFarland.
McGilligan, Patrick (2003) Alfred Hitchcock: A Life in Darkness and Light. New York: Regan Books.
McLuhan, Marshall (1994) Understanding Media: The Extensions of Man. Cambridge, MA: MIT Press.
McVey Gill, Mary, Deana Smalley and María-Paz Haro (2006) Cinema for Spanish Conversation, 2nd edition. Newburyport, MA: Focus.
Méjean, Jean-Max (2007) Pedro Almodóvar. Barcelona: Ediciones Robinbook.
Miller, Henry K. (2008) ‘The Oxford Murders’, Sight and Sound, 18, 7, 69.
Mira, Alberto, (ed.) (2005) The Cinema of Spain and Portugal. London and New York: Wallflower Press.
Modleski, Tania (2005) The Women Who Knew Too Much: Hitchcock and Feminist Theory, 2nd edition. New York: Routledge.
Moldes, Diego (2004) La huella de ‘Vertigo’. Madrid: Ediciones JC.
Monsiváis, Carlos (1995) ‘Mythologies’, in Paulo Antonio Paranaguá (ed.) Mexican Cinema, trans. Ana M. López. London: British Film Institute and IMCINE, 117–27.
Monterde, José Enrique (2000) ‘Los “quiméricos inquilinos” de Álex de la Iglesia’, Dirigido, 294, 32–3.
Montesoro, Julia (1999) ‘El mismo amor, pero un éxito sin igual’, La Nación, 10 October; http://www.lanacion.com.ar/156750-el-mismo-amor-pero-un-exito-sin-igual (accessed 27 June 2014).
Moral, Tony Lee (2005) Hitchcock and the Making of ‘Marnie’. Lanham, MA: Scarecrow Press.
Mulvey, Laura (1989) Visual and Other Pleasures. Bloomington, IN: Indiana University Press.
Mussachio, Humberto (2007) Historia del periodismo cultural en México. Mexico City: Consejo Nacional para la Cultura y las Artes.
Noriega, Chon A., (ed.) (2000) Visible Nations: Latin American Cinema and Video. Minneapolis: University of Minnesota Press.
Noriega, Gustavo (2009) ‘A favor: Pretérito Imperfecto Futuro Perfecto’, El amante, 208, September, 16–17.
Nowell-Smith, Geoffrey, (ed.) (1996) The Oxford History of World Cinema. Oxford: Oxford University Press.
Nuñez Gorritti, Violeta (2006) Cartelera cinematográfica peruana, 1940–1949. Lima: Ediciones Muchacha.
Ordoñez Divi, Marcos (1997) La bestia anda suelta: ¡Álex de la Iglesia lo cuenta todo! Madrid: Ediciones Glenat España.
Orr, John (2005) Hitchcock and Twentieth Century Cinema. London and New York: Wallflower Press.
Paglia, Camille (1998) The Birds. London: British Film Institute.
Papamichael, Stella (2008) ‘Review: “The Oxford Murders”’, BBC. 16 April. http://www.bbc.co.uk/films/2008/04/21/the_oxford_murders_2008_review.shtml (accessed 4 June 2014).
Paranaguá, Paulo Antonio (ed.) (1995) Mexican Cinema. London: British Film Institute.
—— (2003) Tradición y modernidad en el cine de América Latina. México: Fondo de Cultura Económica.
Paz, María Laura (2004) ‘“El hijo de la novia” de vez en cuando la vida’, in Plano secuencia: 20 películas argentinas para reafirmar la democracia (ed) Mónica Satarain. Buenos Aires: La Crujía Editores.
Pérez-Reverte, Arturo (1988) El maestro de esgrima. Madrid: Alfaguara.
—— (1990) La tabla de Flandes. Madrid: Alfaguara.
—— (1993) El Club Dumas. Madrid: Alfaguara.
—— (1994) Territorio Comanche. Madrid: Alfaguara.
—— (1996) El capitán Alatriste. Madrid: Alfaguara.
Perriam, Chris (2003) Stars and Masculinities in Spanish Cinema: From Banderas to Bardem. Oxford: Oxford University Press.
Piedras, Pablo (2001) ‘Nuestra propia historia (de amor)’, 11 July. http://www.cinenacional.com/critica/nuestra-propia-historia-de-amor (accessed 27 June 2014).
Pomerance, Murray (2004) An Eye for Hitchcock. Brunswick, NJ: Rutgers University Press.
Porta Fouz, Javier (2009) ‘Perseguidos por el pasado’, El amante, 208, 21–2.
Pramaggiore, Marie and Tom Wallis (2008) Film: A Critical Introduction. Boston: Pearson.
Prince, Stephen (ed.) (2004) The Horror Film. New Brunswick, NJ: Rutgers Univesity Press.
Quevedo, Francisco de (1990) El Buscón, ed. Pablo Jauralde Pou. Madrid: Castalia.
Ravaschino, Guillermo (1999) http://www.cineismo.com/criticas/mismo%20amor,%20la%20misma%20lluvia,%20el.htm (accessed 27 June 2014).
Rendell, Ruth (1986) Live Flesh. New York: Random House.
Revert, Jordi (2010) ‘“El mal ajeno”: El dolor de la impostura’, 23 March. http://www.labutaca.net/criticas/el-mal-ajeno-el-dolor-de-la-impostura/ (accessed 18 July 2014).
Reviriego, Carlos (2006) ‘Frenesí’, in Guillermo Balmori (ed.) El universo de Alfred Hitchcock. Madrid: Notorious Ediciones, 198–201.
Rey, Florián (1946) ‘Florián Rey, enemigo del doblaje, por Del Arco’, Fotogramas, 3, 15 December, n.p.
Robles, Jesús (ed.) (2001) Nicole Kidman, ‘Los Otros’, una película de Alejandro Amenábar. Madrid: Ocho y Medio.
Rodríguez Marchante, E. (1997) ‘“Perdita” no, “Perditísima”’, ABC, 26 September, 130.
Rodríquez Marchante, Oti (2002) Amenábar, voluntad de intriga. Madrid: Páginas de Espuma.
Rodríguez, Hilario J. (2001) ‘Los vivos y los muertos’, Dirigido, 304, September, 38–41.
Rojas, Eduardo (2009) ‘En contra: Espejos del alma’, El amante, 208, 20–1.
Rodríguez, Jesús (2004) Almodóvar y el melodrama de Hollywood: Historia de una pasión. Valladolid: Editorial Maxtor.
Rohter, Larry (2010) ‘Footage Restored to “Metropolis”’, New York Times, 4 May, C1.
Rojas, Eduardo (2009) ‘Espejos del alma’, El amante, 208, September.
Rooney, David (1997) ‘Review: “Perdita Durango”’, Variety, 6 October.
Rose, James (2009) Studying ‘The Devil’s Backbone’. Leighton Buzzard: Auteur.
Rothman, William (2014) Must We Kill the Thing We Love?: Emersonian Perfectionism and the Films of Alfred Hitchcock. New York: Columbia University Press.
Ryall, Tom (1986) Alfred Hitchcock and the British Cinema. London: Croom Helm.
Sacheri, Eduardo (2005) La pregunta de sus ojos. Buenos Aires: Galerna.
—— (2009) El secreto de sus ojos. Madrid: Alfaguara.
Sánchez Aguilar, Francisco (1978) Todo Buñuel. Mexico: Cineteca Nacional.
—— (2000) Siglo Buñuel. Mexico: Casa Juan Pablos and Cineteca Nacional.
—— (2004) Cinefilia es locura. Mexico: Casa Juan Pablos.
Sánchez-Biosca, Vicente (1995) ‘El elixir aromático de la postmodernidad o la comedia según Pedro Almodóvar’, in José A. Hurtado and Franciso M. Picó (eds) Escritos sobre el cine español 1973–1987. Valencia: Ediciones Textos Filmoteca, 111–23.
Sánchez Fernández, David Miguel (2012) Cines de Madrid. Madrid: Ediciones La Librería.
Sánchez Martínez, Alfonso (1973) Iniciación al cine moderno. Madrid: Magisterio Español.
Sánchez Noriega, José Luis (2002) Historia del cine: Teoría y géneros cinematográficos, fotografía y televisión. Madrid: Alianza.
Santamarina, Antonio (2001) ‘Un sugerente melodrama gótico: “El espinazo del diablo”’, Dirigido, 300, 22–4.
Santos Fontela, Carlos (1999) ‘“La soga”, más allá del alarde técnico’, Blanco y negro, 1 August, 41.
Saragoza, Alex (2001) ‘The Selling of Mexico: Tourism and the State, 1929–1952’, in Gilbert M. Joseph, Anne Rubenstein and Eric Zolov (eds) Fragments of a Golden Age: The Politics of Culture in Mexico Since 1940. Chapel Hill, NC: Duke University Press, 91–115.
Satarain, Mónica (2004) Plano Secuencia: 20 películas para reafirmar la democracia. Buenos Aires: La Crujía Editores.
Savlov, Mark (1992) ‘The Boy Who Cried Bitch’, The Austin Chronicle, 27 March. http://www.austinchronicle.com/calendar/film/1992–03–27/the-boy-who-cried-bitch/ (accessed 25 June 2014).
Scholz, Pablo (2013) ‘En busca de la hazaña’, Clarín, 18 July. http://www.clarin.com/espectaculos/busca-hazana_0_958104326.html (accessed 3 July 2014).
Scott, A. O. (2010) ‘Recasting the Cold War as the Hitchcock Years’, New York Times, 2 June: C6.
Seguin, Jean-Claude (2013) ‘Is there a French Almodóvar?’ A Companion to Pedro Almodóvar. Chichester: Wiley-Blackwell, 432–52.
Shaw, Deborah (2013) The Three Amigos: The Transnational Filmmaking of Guillermo del Toro, Alejandro González Iñárritu and Alfonso Cuarón. Manchester: Manchester University Press.
Silbergeld, Jerome (2004) Hitchcock with a Chinese Face: Cinematic Doubles, Oedipal Triangles, and China’s Moral Voice. Seattle: University of Washington Press.
Sloan, Jane E. (1993) Alfred Hitchcock: A Definitive Filmography and a Biography. Berkeley, CA: University of California Press.
Smith, Dick (2014) ‘Dick Smith’s Advanced Professional Make-up Course’, http://www.dicksmithmake-up.com/training-programs/advanced-course.aspx (accessed 20 June 2014).
Smith, Paul Julian (1994) Desire Unlimited: The Cinema of Pedro Almodóvar. London: Verso.
—— (2003) Contemporary Spanish Culture: TV, Fashion, Art and Film. Cambridge: Polity Press.
Solis, Fidel (1935) ‘La pantalla y sus artistas’, El Universal, 17 November, Sect. 1, 5.
Spoto, Donald (1999) The Dark Side of Genius: The Life of Alfred Hitchcock. New York: Da Capo Press.
Stevens, Brad (2000) ‘“Perdita Durango”: A Case Study’, Senses of Cinema, 5; http://sensesofcinema.com/2000/feature-articles/perdita.
Stevens, Dan (2005) ’A Murder in a Store, Then Blackmail on the Installment Plan’, New York Times, 19 August, B8.
Stack, Peter (1999) ‘Thriller Goes From Eye-Opening to Eye-Glazing: Absurd plot sinks promising story’, San Francisco Chronicle, 30 April.
Strauss, Frédéric (1995) Pedro Almodóvar, Un cine visceral: Conversaciones con Frédéric Strauss. Madrid: El País, Aguilar.
—— (ed.) (2006) Almodódar on Almodóvar. Revised ed. Trans. Yves Baigneres. London: Faber and Faber.
Sullivan, Jack (2006) Hitchcock’s Music. New Haven, CT: Yale University Press.
Thomson, David (2009) The Moment of Psycho: How Alfred Hitchcock Taught America to Love Murder. New York: Basic Books.
Tinelli, José and Enrique Cadícamo (n.d.) ‘Por la vuelta’ http://www.hlmtango.com/letras-detango/p/1/por-la-vuelta/ (accessed 27 June 2014).
Tresnlowski, Alex (2001) ‘Hearts Wide Shut’, People, v.55, n.7 (19 February) http://www.people.com/people/archive/article/0,,20133675,00.html
Troilo, Aníbal and Cátulo Castillo (1962) ‘Desencuentro’, Todo Tango. http://www.todotango.com/320/Desencuentro (accessed 26 June 2014).
Truffaut, François (1984) Hitchcock/Truffaut: The Definitive Study by François Truffaut, rev. ed. New York: Simon and Schuster.
Vera, Cecilia, Silvia Badariotti and Débora Castro (2002a) Cómo hacer cine 1: ‘Tesis’ de Alejandro Amenábar. Madrid: Editorial Fundamentos.
—— (2002b) Cómo hacer cine 2: ‘El día de la bestia’ de Álex de la Iglesia. Madrid: Editorial Fundamentos.
Vernon, Kathleen M. (2009) ‘Queer Sound: Musical Otherness in Three Films by Almodóvar’, All About Almodóvar: A Passion for Cinema. Minneapolis: University of Minnesota Press, 51–70.
—— (2013) ‘Almodóvar’s Global Marketplace,’ A Companion to Pedro Almodóvar, Malden, MA: Wiley-Blackwell, 387–411.
Vernon, Kathleen M. and Barbara Morris (eds) (1995) Post-Franco, Postmodern: The Films of Pedro Almodóvar. Westport, CT: Greenwood Press.
Vidal, Nuria (1988) El cine de Pedro Almodóvar. Barcelona: Ediciones Destino.
—— (2004) Escenarios del crimen. Barcelona: Ediciones Océano.
Williams, Linda (2004) ‘Discipline and Fun: Psycho and Postmodern Cinema’ in Robert Kolker (ed.) Alfred Hitchcock’s Psycho: A Casebook. New York: Oxford University Press, 164–204.
Wood, Robin (2002) Hitchcock’s Films Revisited, Revised Ed. New York: Columbia University Press.
Yacowar, Maurice (2010) Hitchcock’s British Films, Second Ed. Detroit: Wayne State University Press.
Žižek, Slavoj (1993) Looking Awry: An Introduction to Jacques Lacan through Popular Culture. Cambridge, MA: MIT Press.
—— (2003–4) ‘Vertigo: The Drama of a Deceived Platonist’, Hitchcock Annual, 12, 67–82.
Zurián, Francisco A. (2013) ‘La piel que habito: A Story of Imposed Gender and the Struggle for Identity’, A Companion to Pedro Almodóvar, Malden, MA: Wiley-Blackwell, 262–278.
Zurián, Francisco A. and Carmen Vázquez Varela (eds) (2005) Almodóvar: el cine como pasión. Actas del Congreso Internacional ‘Pedro Almodóvar’, Cuenca, 26–29 November 2003. Cuenca: Ediciones de la Universidad Castilla-La Mancha.