List of Figures
Acknowledgments
Introduction Architecture, the Urban and the Critical Possibilities of Spanish Film Studies
Susan Larson
PART 1: ARCHITECTURE AND THE URBAN
1.Architecture, Urbanistic Ideology and the Poetic- AnalyticDocumentary Mode in Mercado de futuros (2011) by Mercedes Álvarez
Benjamin Fraser
2.Establishing Shots as Urban Blueprints in Spanish Feature Films
Jorge Gorostiza
PART 2: MOBILITY
3.The Rhythm of the Modern City: Traffic and Mobility in Spanish Film,1896– 1936
Nuria Rodríguez- Martín
4.Childhood Spectacle, Modernity and Madrid as a Dystopic City: LuisLucia’s Cerca de la ciudad (1952)
David Foshee
Elevators and the Poetics of Vertical Mobility in Spanish Film
Tom Whittaker
PART 3: SURFACE TENSIONS
6. An Archi- Texture of Pleasure: The Verbena, the Modistilla and the Mantón de Manila in Rosa de Madrid (1927)
Juli Highfill
7. Surface Tension and Utopian Underworlds: Orpheus and the Executioner in Luis García Berlanga’s El verdugo (1963)
Patricia Keller
PART 4: THE EVERYDAY
8. Mediating Everyday Life: Domestic Architecture in Spanish Film
Josefina González Cubero and Alba Zarza Arribas
9. Through the Looking Glass: Images of the Ordinary World in Oscar- Nominated Spanish Cinema
Emeterio Diez Puertas and María de Arana Aroca
PART 5: MEMORY AND THE MONUMENTAL
10. Who and What Was José Antonio Nieves Conde Criticizing in the Film El inquilino (1957)?
Susan Larson and Carlos Sambricio
11. Madrid 1964: Icon of Modernity or City of Memory? A Look at the ‘Details’
Vicente Sánchez- Biosca
12. Making Madrid Plastic: Waste and Space in Pedro Almodóvar’s Post- movida Films
Samuel Amago
PART 6: THE VIRTUAL
13. Uncanny Urbanism and Generational Shifts in Carlos Marques Marcet’s 10.000km and Anchor and Hope
Leigh Mercer
14. Dead to Capitalism: Zombified Territory and Junkie Spaces in Cabanyal Z, or How to Unleash Monstrous Creativity in the Urban
Stephen Luis Vilaseca
Notes on Contributors
Index