Ryan Prout is a graduate of the University of St Andrews. He completed his PhD at Trinity Hall, Cambridge, and was a Research Lecturer at Christ Church, Oxford. At Cardiff University’s School of European Studies he teaches undergraduate and postgraduate courses on film, literature, and translation. His recent publications have been on adoption and identity, disability in Spanish cinema, and on short films. His book on Hispanic cultural studies is forthcoming as is a journal dossier on endism in film from Europe and the Americas. His work has appeared in Third Text, Bulletin of Spanish Studies, TLS, Film International, and The Arizona Journal of Hispanic Cultural Studies. He is a member of the advisory board for Film Matters.Tilmann Altenberg is Senior Lecturer in Hispanic Studies at Cardiff University and general editor of the journal New Readings. He has published widely on 19th- and 20th-century Spanish and Latin American literature, including a monograph on the Cuban-Mexican poet José María Heredia. His critical edition of Heredia's complete poetry is forthcoming (UNAM). He has co-edited a multi-disciplinary cross-media volume on Don Quijote and contributed two chapters of a volume on the European Picaresque Novel (La novela picaresca: Concepto genérico y evolución del género). Current research projects focus on executions during the Mexican Revolution and on the representations of the conscience in Hispanic literature and film.
"Seeing in Spanish includes many valuable contributions to the growing field of ‘Hispanic Visual Cultures’. Many of the essays included here should have considerable impact and have clear potential to grow into separate volumes in their own right. Some readers might take issue with the structure of the book and might find the mix of materials, themes, methodologies and theoretical frameworks problematic. Whereas the variety of media covered in the book is characteristic of ‘visual culture’ as a field of study and not a problem in itself, the lack of chronological, geographical or conceptual boundaries in this book can be a bit bewildering. Yet, as shown in this review and in the book’s introduction, there are a number of thematic threads running through the volume that could offer alternative andpotentially more productive ways of structuring it. The onus, it seems, is on the reader to pick, choose and navigate through the rich and stimulating variety that this book has to offer. The very difficulty of containing or re-ordering the different pieces of the ‘Hispanic Visual Cultures’ puzzle is perhaps in itself one of the most illuminating qualities of this book."- Santiago Fouz-Hernandez, Bulletin of Spanish Studies, XCI:7 (November 2014), 1115-1117.“With the rise in interest in visual cultures worldwide in all their myriad forms, this volume could not be more timely. Wide-ranging in its scope, from urban graffiti to YouTube, this volume analyses Hispanic visual cultures, encompassing film, fine art, street art, album covers, posters, photography and cyberspace. It challenges received ideas and familiar monolithic stereotypes of Hispanic culture, emphasising instead that the visual cultures of Spain and Latin America are in a process of reconstruction, refashioning and dissolution, in dialogue with themselves and with other cultures. This book is an essential expansion of the field, offering a kaleidoscope of fresh perspectives on Hispanic visual cultures.”—Dr Ann Davies, Senior Lecturer in Spanish, School of Modern Languages, Newcastle University“Seeing in Spanish is an inspired compilation that takes the fields of Spanish and Latin American Studies in exciting new directions. Exploring the Hispanic world through its visual representations, it brings into focus far-reaching questions about the impact of film, public art and cyber-culture in this context and beyond. Grouped thematically rather than by chronology or geography, essays on topics as wide-ranging as Violeta Parra’s embroidery, Spanish films of transnational adoption and Daddy Yankee’s anti-fans offer fascinating perspectives on a world that is insistently supranational even as local histories loom large. ‘Seeing in Spanish’, this compilation implies, means engaging with a dynamic culture of improvisation but also with practices of thoughtful recycling, be these screen reinventions of Teresa de Avila or books crafted from used materials. This book maps a field for the twenty-first century; it will change the way we think about, and visualize, the world of Spanish.”—Esther Whitfield, Associate Professor of Comparative Literature, Brown University
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