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Through nearly a hundred entries arranged like a dictionary, journalist Valeria Vegas compiles a wealth of essential references—and role models—for understanding the role played by gay men, lesbians, bisexuals, trans women and men, drags, female impersonators, and allies of the community in Spanish culture. A historical journey that begins in the 1960s, with the release of the film “Diferente” and the arrival of Coccinelle on Madrid’s Gran Vía, moves through the turbulent years of the Transición, and reaches the early 21st century, reminding us that just a decade ago there were still territories of freedom left to conquer. In the author’s words, “perhaps this book will help do justice to all those careers forged onstage. Because the history of our LGBTQ culture is still being written, and we must begin by putting in order what has already happened, precisely and reliably, giving all role models the place they deserve. 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Three years after Scream Queer. La representación LGTBIQ+ en el cine de terror, Javier Parra has returned to bare it all. Once again.\u003c\/p\u003e\n\u003cp\u003eIn addition to delving into ghosting, toxic relationships, and other horrors of adult life, in the pages of Scream Queer 2. La venganza you will find a new look at cult films (from ¿Qué fue de Baby Jane? to Caramelo asesino); the celebration of filmmakers who are part of the queer spectrum (Curtis Harrington, Frank Henenlotter, and many others), as well as a reassessment of cinematic artifacts that move along the boundaries of fantasy.\u003c\/p\u003e\n\u003cp\u003eForgotten classic monsters return, along with digressions on La posesión by Zulawski, the cenobites of the Hellraiser saga, and the most current reinterpretations of Nueva Carne. Horny aliens and tentacled creatures share space with a perversely styled film noir, psychological dramas that will plunge you into misery, arty porn that wants to be fantastique, and a host of works from yesterday and today praised by the LGTBIQA+ community.\u003c\/p\u003e","brand":"Dos Bigotes","offers":[{"title":"Default Title","offer_id":55302213435736,"sku":"LIB-SC-DO-41","price":19.95,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0925\/8464\/0856\/files\/scream-queer-2-la-venganza-7546883.jpg?v=1761780882"},{"product_id":"ocana-el-eterno-brillo-del-sol-de-cantillana","title":"Ocaña el eterno brillo del Sol de Cantillana","description":"What is it about the figure of José Pérez Ocaña that, forty years after his death, continues to inspire admiration? Ocaña. 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With the intention of shedding some light on a character about whom much has been said but little has been written, the book brings together a great group of authors who have researched his work and everything surrounding his figure: from his almost forced sexile to his obsession with religious imagery in his paintings or performances, including an analysis of the artistic-cultural context in which he operated.","brand":"Dos Bigotes","offers":[{"title":"Default Title","offer_id":55302215663960,"sku":"LIB-OC-DO-62","price":20.95,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0925\/8464\/0856\/files\/ocana-el-eterno-brillo-del-sol-de-cantillana-7773739.jpg?v=1761780376"},{"product_id":"en-mitad-de-tanto-fuego","title":"En mitad de tanto fuego","description":"Back cover: \"I am not here to tell the story of the Trojan War. This is the story of my flesh, where death and love met.\" With these words from Patroclus, Achilles' comrade-in-arms, begins the monologue of En mitad de tanto fuego, the song of a mythological character who was, above all, flesh in love and desire. Taking as a starting point canto XVI of the Iliad, the playwright Alberto Conejero offers us a personal and intimate approach to Homero's poem, a new perspective lived and told from a secondary character in the usual narrative, as debated as it is fascinating and mysterious: Patroclus, the \"most beloved\" by Achilles. En mitad de tanto fuego — which links various eras and includes references and quotes from, among others, Sappho, Pedro Lemebel, Anne Carson, and Luis Cernuda — is an attempt to tell the story differently, an anti-war plea, and another demonstration of art’s impotence in the face of war; an oratorio for the victims that speaks of concepts such as power, passion, violence, and homeland. 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Viewed with disdain by the critics of the time, who never forgave him for his commercial ambition, and reclaimed by new generations, the figure of Eloy de la Iglesia is essential for understanding one of the most turbulent periods in our recent history. This collective essay, coordinated by Carlos Barea, delves into the various aspects that converge in the films of the Basque filmmaker, where the will to provoke and the rawest eroticism coexist with the intention to realistically portray political upheavals and social transformations. His extensive filmography featured the stars of the moment (Carmen Sevilla, Amparo Muñoz, Simón Andreu, Vicente Parra, and José Sacristán, among others) as well as new talents with no camera experience (such as José Luis Manzano, his favorite actor). Homosexual and communist, Eloy de la Iglesia decisively contributed to depicting the lights and, above all, the shadows of a country awakening to democracy but turning its back on part of the population. 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