Celestino Deleyto
Curriculum vitae
CV revised 09/01/2013
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Celestino Deleyto |
DEGREES
Licenciado en Filología Anglogermánica: Inglés (B.A. in English), University of Oviedo, 1980.
Doctor en Filología Inglesa (Ph.D. in English), University of Sevilla, 1985.
UNIVERSITY TEACHING EXPERIENCE
Current position: Catedrático de Filología Inglesa: Cine y Literatura (Professor of English Film and Literature), University of Zaragoza
Undergraduate courses taught:
Shakespeare, Comentario de Textos Ingleses (Introduction to Film Analysis), Literatura y cine en los países de habla inglesa (Literature and Film), Introducción a la Literatura Inglesa (Medieval and Renaissance English Literature), Historia de la Lengua Inglesa (History of the English Language), Lengua Inglesa (English Language).
Graduate Courses taught:
Issues in Film Studies; The Theory of Film Genre, Hollywood Romantic Comedy, Theories of Film, Contemporary Hollywood Cinema, Gender and Subjectivity in Hollywood Cinema, Film Noir, Melodrama, Metafictional Cinema: Woody Allen, Film and Literature, British Contemporary Drama: Harold Pinter.
Previous teaching experience:
Profesor Titular de Filología Inglesa (Senior Lecturer), University of Zaragoza
Profesor Interino, colaborador y encargado de curso (Lecturer), University of Zaragoza
Profesor ayudante de Inglés, Escuela Superior de Ingenieros Industriales (Lecturer of English for Industrial Engineering), University of Sevilla
Lector de Español, University of Sheffield
RESEARCH INTERESTS
Film theory and history, Transnational cinema and cosmopolitanism, border theory; film genre theory, comedy, gender; film and literature; film as narrative
PUBLICATIONS
Books
Alejandro González Iñárritu. Co-written with María del Mar Azcona. Urbana, Chicago and Springfield: University of Illinois Press, 2010.
Generic Attractions: New Essays on Film Genre Criticism. Co-edited with María del Mar Azcona. Paris: Michel Houdiard, 2010.
The Secret Life of Romantic Comedy. Manchester: Manchester University Press, 2009.
Woody Allen y el espacio de la comedia romántica. Valencia: Ediciones de la Filmoteca, 2009.
Ángeles y demonios: Representación e ideología en el cine contemporáneo de Hollywood. Barcelona: Paidós, 2003.
Wayne Wang: Smoke . Paidós: Barcelona, 2000.
Terms of Endearment: Hollywood Romantic Comedy of the 80s and 90s . Co-edited with Peter W. Evans. Edinburgh: Edinburgh University Press, 1998.
Flashbacks: Re-Reading the Classical Hollywood Cinema . Edited book. Zaragoza: Servicio de Publicaciones de la Universidad de Zaragoza, 1992.
Articles and book chapters
“The Flower of His Secret: Carne trémula and the Mise en Scène of Desire,” in Marvin D’Lugo and Kathleen M. Vernon, eds., A Companion to Pedro Almodóvar’s Cinema, Malden and London: Wiley-Blackwell (forthcoming).
“Catalan Beauty and the Transnational Beast: Barcelona on the Screen” (co-written with Gemma López), Transnational Cinemas (forthcoming).
“Humor, Erotic Utopia and the Intimate Scenarios of Romantic Comedy,” in Andrew Horton and Joanna Rapf, eds., The Blackwell Companion to Film Comedy, Malden and London: Wiley-Blackwell, 2013, 175-195.
“Film Genres at the Crossroads: What Genres and Films Do to Each Other,” in Barry Keith Grant, ed., Film Genre Reader 4, Austin, Texas: Texas University Press, 2012, 218-236.
"Beautiful Illusion : The Curse of the Jade Scorpion and the Conventions of Romantic Comedy," Post Script, 31-.2 (Winter/Spring 2012), 80-91.
“The Comic, the Serious and the Middle: Desire and Space in Contemporary Film Romantic Comedy,” Journal of Popular Romance Studies (2.1) (October 2011). http://jprstudies.org/2011/10/the-comic-the-serious-and-the-middle-desire-and-space-in-contemporary-film-romantic-comedy-by-celestino-deleyto/
“The New Road to Sexual Ecstasy: Virginity and Genre in The Forty-Year-Old Virgin,” in Virgin Territory: Representing Sexual Inexperience in Film. Ed. Tamar Jeffers McDonald. Detroit: Wayne State University Press, 2010, 255-268.
“Tales of the Millemmium (Park): The Happy Ending and the Magic Cityscape of Contemporary Romantic Comedy,” in Happy Endings and Films, eds. Armelle Parey, Isabelle Roblin and Dominique Sipière. Paris: Michel Houdiard, 2010, 103-114.
“Rewind: Desire and the Arabesque of Plot in Romantic Comedies,” in Generic Attractions: New Essays on Film Genre Criticism, eds. María del Mar Azcona y Celestino Deleyto. Paris: Michel Houdiard, 2010, 104-115.
“From Among the Dead: Identity and Truth in Filmic Letters,” in Literary Intermediality: The Transit of Literature through the Media Circuit, Maddalena Pennacchia, ed., Bern et al: Peter Lang, 2007: 43-65.
"'Désexuez-moi': mascarade et construction narrative de l'identité dans La Flibustière des Antilles," Cinémaction, 120 (2006), 172-80.
"1999, A Closet Odyssey: Sexual Discourses in Eyes Wide Shut," Atlantis. 28.1 (June 2006), 29-43.
"Abre los ojos / cierra los ojos: Sexo, representación y recepción en Eyes Wide Shut," inTabú: la sombra de lo prohibido, innombrable y contaminante, Vicente Domínguez, ed., Gijón & Madrid: Ocho y medio, 2005.
"Me, Me, Me: Film Narrators and the Crisis of Identity," in Books in Motion: Adaptation, Fidelity and Authorship , Mireia Aragay, ed., Amsterdam & New York: Rodopi, 2005, 243-62.
"De máscaras, puntos de vista y fantasías sexuales: Relato Soñado y Eyes Wide Shut," El cuento en red. Revista electrónica de la teoría de la ficción breve , vol. 12 (otoño 2005)
"El teenpic : rebeldía, ignorancia y heterogeneidad," in Dentro y fuera de Hollywood: La tradición independiente en el cine americano , Antonio Weinrichter and Roberto Cueto, eds., Gijón: Festival de cine de Gijón, 2004, 145-56.
"Back to the Present: Reworking the Conventions of the Teenpic in Clueless," in Memory, Imagination and Desire in Contemporary Anglo-American Literature and Film, Constanza del Río and Luis Miguel García Mainar, eds., Heidelberg: CUniversitätverlag Winter, 2004, 187-95.
"Return to Austen: Film Heroines of the Nineties," in Refracting the Canon in Contemporary British Literature and Film , Susana Onega and Christian Gutleben, eds., Amsterdam and New York: Rodopi, 2004, 95-110.
"Between Friends: Love and Friendship in Contemporary Hollywood Romantic Comedy," Screen , 44.2 (June 2003), 167-82.
"Amor, parodia y tiramisu: Sleepless in Seattle y la comedia romántica contemporánea," Archivos de la filmoteca , 44 (June 2003), 120-39.
"Forget Your Troubles and Be Happy: Una aproximación etnográfica a la ideología del entretenimiento en el cine estadounidense contemporáneo," co-written with Chantal Cornut-Gentille D'Arcy, Luis Miguel García Mainar, Virginia Luzón, Monica Stacconi, Juan A. Tarancón and María del Mar Azcona, Atlantis , 24.2 (December 2002), 59-72.
"The Nun's Story: Femininity and Englishness in the Films of Deborah Kerr," in British Film Stars , Bruce Babington, ed., Manchester: Manchester University Press, 2001, 120-31.
"La comedia y la risa en el cine: Historias de amor y sexo en I Was a Male War Bride," Archivos de la filmoteca, 37 (February 2001), 164-81.
"Amistades peligrosas: La comedia romántica de Hollywood en los años 90," in El cine: otra dimensión del discurso artístico," José Luis Caramés and Carmen Escobedo, eds., vol. 1, Oviedo: Universidad de Oviedo, 1999, 173-98.
"Motherland: Space, Femininity and Spanishness in Jamón, Jamón," Spanish Cinema: The Auterist Tradition , Peter W. Evans, ed., Oxford and London: Oxford University Press, 1999, 177-93.
"Love in the Times of AIDS: The Rhetoric of the Margins in the Broadway Musical Rent," inCulture and Power IV: Cultural Confrontations , Chantal Cornut-Gentille D'Arcy, ed., Zaragoza: Departamento de Filología Inglesa y Alemana, 1999, 177-93.
"Introduction: Surviving Love" and "Love and Other Triangles: Alice and the Conventions of Romantic Comedy," in Terms of Endearment: Hollywood Romantic Comedy of the 80s and 90s , Peter W. Evans and Celestino Deleyto, eds., Edinburgh: Edinburgh University Press, 1998, 1-14, 129-47.
"Women and Other Monsters: Frankenstein and the Role of the Mother in El espíritu de la colmena," Bulletin of Hispanic Studies, LXXVI,1 (1998), 39-51.
"'They Lived Happily Ever After': Ending Contemporary Romantic Comedy," Miscelánea , 19 (1998), 39-55.
"The Construction of Space and the Monstrous-Feminine in the Welles-Text," Critical Survey , 10.2 (1998), 35-51.
"The Margins of Pleasure: Female Monstrosity and Male Paranoia in Basic Instinct," Film Criticism , XXI,3 (1997), 20-42.
"Men in Leather: Kenneth Branagh's Much Ado About Nothing and Romantic Comedy," Cinema Journal, 36.3 (Spring 1997), 91-105.
"Regulating Desire: Castration and Fantasy in Blake Edwards' Switch," in Gender I-deology:Essays on Fiction, Film and Theory , Chantal Cornut-Gentille D'Arcy and José Ángel García Landa, eds., Amsterdam and New York: Rodopi, 1996, 419-37.
"Masochism and Representation in Modern Horror: The Case of Alien 3," Atlantis , 18, 1 & 2 (June-December 1996), 62-73.
"We're No Angels: Woman vs. History in Angela Carter's Wise Children," in Telling Histories: Narrativizing History, Historicizing Narrative , Susana Onega, ed., Amsterdam and Atlanta, GA: Rodopi, 1995, 163-80.
"Postmodernism and Parody in Mujeres al borde de un ataque de nervios (1988)," Forum for Modern Language Studies , XXXI,1 (1995), 49-63.
"The Narrador and the Narrative: The Evolution of Woody Allen's Film Comedies," Film Criticism , XIX,2 (Winter 1994-95), 40-54.
"Comedia sentimental, lenguaje y melodrama en The Rivals de R.B. Sheridan," Revista Canaria de Estudios Ingleses , 29 (November 1994), 23-42.
"Focalisation in The Birds," Miscelánea , 15 (1994), 155-91.
"Monstrous Women: The Frankenstein Myth and the Role of the Mother in Víctor Erice's El espíritu de la colmena (1973)," in Transvases culturales: literature, cine y traducción , Federico Eguiluz, José Miguel Santamaría and Vickie Olsen, eds., Vitoria: Departamento de Filología Inglesa y Alemana, 1994, 161-73.
"Rewriting Spain: Metafiction and Intertextuality in Saura's Carmen," Journal of Hispanic Research , 2 (1993-94), 237-47.
"The Focaliser Focalised in King Vidor's The Crowd," Miscelánea , 14 (1993), 27-40.
"El cine en la literatura: la influencia de la mirada," in La literatura en lengua inglesa y el cine , José María Bravo Gozalo, ed., Valladolid: Universidad de Valladolid, 1993, 83-98.
"The Dupes Strike Back: Comedy, Melodrama and Point of View in The Apartment," Atlantis, 14, 1 & 2 (1992), 37-61.
"Self-Consciousness and the Classical Text: An Analysis of Swing Time," Film Criticism, XVI,3 (Spring 1992), 17-33.
"The Classical Hollywood Cinema" and "Narrative Closure and the Comic Spirit: The Inconclusive Ending of Bringing Up Baby," in Flashbacks: Re-Reading the Classical Hollywood Cinema , Celestino Deleyto, ed., Zaragoza: Servicio de Publicaciones de la Universidad de Zaragoza, 1992, 1-17, 161-84.
"Focalisation in Film Narrative," Atlantis , 13, 1 & 2 (November 1991), 159-77. Reprinted inNarratology , Susana Onega and José Ángel García Landa, eds., Longman: London, 1996, 217-33.
"Reality and Perception in Vertigo," in Science, Literature and Interpretation , Fracisco Collado-Rodríguez, ed., Zaragoza: Servicio de Publicaciones de la Universidad de Zaragoza, 1991, 189-211.
"La comedia de la restauración," in Estudios Literarios Ingleses. La Restauración, 1660-1700 , Bernd Dietz, ed., Madrid: Cátedra, 1989, 129-64.
"Formas y estructuras cinematográficas en dos obras de teatro contemporáneas," Anuario de Estudios Filológicos , XI (1988), 149-58.
"El uso de la memoria en el guión de Accident," Miscelánea , 8 (1987), 135-46.
"Estratificación de la ficción dramática en The Tempest," Atlantis , 9 (1987), 41-52.
"Lenguaje cinematográfico, estilo y punto de vista en The Proust Screenplay," Miscelánea, 7 (1986), 37-52.
"Hacia un análisis empírico-simbólico del texto literario," co-written with José Luis Caramés, Carmela Martín and María Eugenia Díaz, Arbor , CXI, 435 (March 1982), 21-43.