Nancy J. Membrez, Ph.D

Nancy J. Membrez, Ph.D.

Associate Professor Department of Modern Languages and Literatures The University of Texas at San Antonio One UTSA Circle San Antonio, TX 78249 210-838-2913 [email protected]

Education:

1987 Ph.D. in Hispanic Languages and Literatures, University of California, Santa Barbara, CA.

Ph.D. Dissertation: The Teatro por horas: History, Dynamics and Comprehensive Bibliography of a Madrid Industry 1867-1922 (género chico, género ínfimo and Early Cinema). University of California, Santa Barbara. Ann Arbor: UMI, 1987. 1700 pp. Advisor: Carlos García Barrón.

1975 M.A. in Spanish, University of Minnesota, Minneapolis, MN. MA Thesis.

1972 B.A. in Spanish, College of Wooster, Wooster, OH. Junior and Senior Theses.

1971 United Nations Semester, Drew University, Madison, NJ and the United Nations, NYC.

1969-1970 Institute of European Studies, Madrid, Spain.

Academic Publications:

Books:

Membrez, Nancy J. The Persistence of Vision: The Life, Film Career and Brilliance of Eliseo Subiela. Foreword by Ksenija Bilbija. University of Wisconsin-Madison. Jefferson, NC: McFarland Publishing, forthcoming late 2020 or early 2021.

_____ (ed.). War, Revolution and Remembrance in World Cinema. Jefferson, NC: McFarland Publishing, forthcoming 2020 or early 2021.

_____ (ed.). Memory in World Cinema. Jefferson, NC: McFarland Publishing, 2019. ISBN 978-1-4766-7608-1 and 978-1-4766-3644-3 (e-book).

_____. (ed.) Eliseo Subiela, the Poet of Latin American Cinema. Essays, Interviews, and Photographs. Foreword by David William Foster. Lewiston, NY: E. Mellen Press, 2014.

_____ (ed.). The Cinematic Art of Eliseo Subiela, Argentine Filmmaker. Foreword by Guy H. Wood. Lewiston, NY: E. Mellen Press, 2007.

Book Chapters:

Membrez, Nancy J. “Apostillas históricas a Muerte de un ciclista (Bardem, 1955).” Cine y franquismo. Eds. Magí Crusells, Beatriz de las Heras and Antonio Pantoja. 2020.

_____. “Capítulo 12. Cine.” Humanidades hispánicas: Lengua, cultura y literatura en los estudios graduados. Ed. F. Marcos-Marín. New York: Peter Lang, 2018. 307-338.

_____. “De la ópera bufa a la zarzuela grande: los barberos Fígaro y Lamparilla”. Teatro lírico español: Ópera, drama lírico y zarzuela grande entre 1868 y 1925. Eds. M. Pilar Espín Templado, Pilar de Vega Martínez, Manuel Lagos Gismero. Madrid, UNED, 2016. 265-287. ISBN: 978-84-362-7182-9.

_____. Translation of Gabriela Mistral’s poem “Dulzura” and publication of my poem, “Correo electrónico” (in addition to my material from the 1st edition). Marta Montemayor and Marino de León, Para siempre, A Beginning Spanish Conversation Textbook. 2nd Ed. Houghton-Mifflin, 2013.

_____. A short essay on Gaudí, a dialogue for an advanced chapter on Barcelona, photographs of Barcelona, an interview with Argentine film director Eliseo Subiela, a 100-word Biography of Subiela for the English notes. Marta Montemayor and Marino de León, Para siempre, A Beginning Spanish Conversation Textbook. 1st Ed. Houghton- Mifflin, 2009.

_____. “Una entrevista con Paula Félix-Didier, directora del Museo del Cine, Buenos Aires Argentina.” Cine-Lit VII: Selected Essays on Hispanic Cinema. Ed. G.H. Wood. Portland, OR: Portland State and Oregon State Universities, 2012. 292-296.

_____. “Um paladim cinematográfico para América Latina.” Sociedade, teorias da mídia e audiovisual na América Latina. Eds. Sebastião G. Albano and Maria Érica de Oliveira Lima. Jaboticabal, Brasil: FUNEP, 2010. 181-196.

_____. “From Professor to Filmmaker.” Cine-Lit VI: Essays on Hispanic Film and Fiction. Eds. J. Martí Olivella and G.H. Wood. Corvallis, OR: Cine-Lit Publications, 2008. 286- 296.

_____. “La cenicienta posmoderna: la reescritura de los cuentos de hadas en Pequeños milagros (1997), de Eliseo Subiela.” Cine-Lit 2000: Essays on Peninsular and Latin American Film and Fiction. Eds. J. Martí Olivella, G. Cabello Castellet, and G.H. Wood. Portland OR: Portland State and Oregon State Universities, 2001. 16-31.

_____. “Una entrevista con Eliseo Subiela.” Cine-Lit 2000: Essays on Peninsular and Latin 3

American Film and Fiction. Eds. J. Martí Olivella, G. Cabello Castellet, and G.H. Wood. Portland OR: Portland State and Oregon State Universities, 2001. 207-217.

_____. “Apostillas a El espíritu de la colmena, de Víctor Erice.” Cine-Lit III: Essays on Peninsular and Latin American Film and Fiction. Eds. J. Martí Olivella, G. Cabello Castellet, and G.H. Wood. Portland OR: Portland State and Oregon State Universities, 1998. 113-130.

_____. “The Roots of Raíces: The Genesis of El diosero into Film.” Cine-Lit: II Essays on Peninsular and Latin American Film and Fiction. Eds. J. Martí Olivella, G. Cabello Castellet, and G.H. Wood. Portland OR: Portland State and Oregon State Universities, 1996. 39-58.

_____. “La (re)invención de Madrid en el teatro por horas: tipomanía y lenguaje.” Ensayos sobre Carlos Arniches y su obra. Ed. Juan Antonio Ríos Carratalá. Alicante: Instituto Juan Gil Albert, Diputación de Alicante, 1994. 79-84.

_____. “El ángel exterminador de Luis Buñuel: auto sacramental cinematográfico.” Cine- Lit: Essays on Peninsular Film and Fiction. Eds. J. Martí-Olivella, G. Cabello Castellet and G.H. Wood. Portland OR: Portland State and Oregon State Universities, 1992. 31-39.

_____. “Su Majestad la opereta vienesa y la zarzuela grande.” Teatro en España: Entre la tradición y la vanguardia 1918-1936. Eds. María Francisca Vilches and Dru Dougherty. Madrid: Tabapress, 1992. 295-303.

_____. “The Mass Production of Theater in Late Nineteenth Century Madrid.” Hispanic Issues: The Institutionalization of Spanish Literature, v. 3. The Crisis of Institutionalized Literature in Spain. Eds. Nicholas Spadaccini and Wlad Godzdich. Minneapolis: The Prisma Institute, 1988. 306-356.

Translation and Subtitling:

Membrez, Nancy J. Translation. I Alone. Bernardo de Gálvez’s American Revolution (El que tenga valor que me siga. La vida de Bernardo de Gálvez), a novel by Spaniard Eduardo Garrigues. Houston: Arte Público Press, 2020. ISBN 978-1-55885-892-3.

_____ and F. Marcos-Marín. Translation. El mural White Shaman. (The White Shaman Mural by Carolyn E. Boyd. University of Texas Press, 2016). Forthcoming in Mexico in late 2020 or 2021.

_____. Revised English subtitles (over 200). Man Facing Southeast. My line credit at end of film. Kino Lorber DVD/Blu-ray. 2016. Contact: Robert Sweeney, Associate Director of Media Production and Operations, Kino Lorber ([email protected]).

_____. Translation. Screenwriter-director Eliseo Subiela’s 500-word essay for the Kino 4

Lorber DVD of Man Facing Southeast liner notes. 2016.

_____. Translation. Subiela’s screenplay Paisajes devorados (Vanished Landscapes), the 100-word synopsis, and the 500-word Director's Statement. 2010.

_____. English subtitles. My translation Vanishing Landscapes became the basic subtitles for Subiela’s film. 2010. Subtitles revised (actors changed lines; some material added). 2012. World Premiere of Subiela’s film Paisajes devorados with my subtitles in place. Guadalajara International Film Festival, Mexico. 2012. Argentine premiere, 2013.

_____. English subtitles. Subiela’s feature film Rehén de ilusiones (The Hostage of Illusion). Translation of the 100-word synopsis. 2010. The film with my subtitles shown at the The Pinamar Film Festival (Argentina) in 2010, the Cairo International Film Festival in 2010, and the Washington, DC Film Festival in 2011. DVD.

Cathleen Rountree (with Nancy Membrez, translator/interpreter). “Interview with Eliseo Subiela.” Jung Journal: Psyche and Culture 1.3 (Summer 2007): 86-111.

Membrez, Nancy J. English subtitles. No mires para abajo (Don’t Look Down, Subiela, 2006). Shown as a work-in-progress 2007 at the Syracuse International Film Festival, Syracuse, NY and at the Philadephia Film Festival. DVD (with my subtitles as an option) through www.facets.org.

Journal Articles (Juried):

Membrez, Nancy J. “The falda-pantalón (Pant-Skirt/Pant-Dress) Scandal in Madrid in 1911.” The Journal of Dress History (Spring 2021). 30 pages. Forthcoming.

_____. “‘Soy Rantés y soy el Dr. Denis’: Hombre mirando al sudeste 30 años después. La última entrevista con Eliseo Subiela, el 28 de agosto de 2016. Montreal, Canadá” and “Pequeña biografía apócrifa de Eliseo Subiela”. Nuevo Texto Crítico 29.52 (2016): 95- 102.

_____. “La antena torcida: Subiela y el enigma de K-PAX” Imagofagia (ISSN: 1852-9550) 11 (abril de 2015). http://www.asaeca.org/imagofagia/index.php/imagofagia/article/view/ 713.

_____. “Tres novelistas del siglo XIX (Galdós, Clarín, Palacio Valdés) y el teatro por horas.” Hecho Teatral. Revista de teoría y práctica del teatro hispánico (Madrid) 9 (2009): 104- 114.

_____. “El ángel exterminador de Luis Buñuel: auto sacramental cinematográfico.” Corregido y aumentado. Número dedicado a Luis Buñuel. Significação Revista [brasileira] de cultura audiovisual 29 (outono-inverno de 2008): 27-43.

_____. “El peón y la Muerte: el caso trasnacional de Macario.” Revista Latinoamérica (UNAM) 44.1 (2007): 27-58.

_____. “Delírium tremens: se encaran el teatro popular y el cinematógrafo 1896-1946.” Letras Peninsulares. Monographic issue on “Literature, film and the Other Arts in Modern Spain” 7.1 (Spring 1994): 165-184.

_____. “The Bureaucratization of the Madrid Theater: Government Censorship, Curfews and Taxation (1868-1925).” Special issue on the theater in Spain in the 20th century. Ed. Farris Anderson. Anales de la Literatura Española Contemporánea (ALEC) 17.1-3 (1992): 99-123.

_____. “Yanquis, filibusteros y patriotas: prensa y teatro en la España del 98.” Cincinnati Romance Review 10 (May 1991): 123-145.

_____. “The Género ínfimo in Madrid 1898-1922.” Siglo XX/ Twentieth Century 7 (1989- 1990): 6-12.

_____. “Eduardo Navarro Gonzalvo and the revista política.” Letras Peninsulares 1.3 (Winter 1988): 320-330.

Encyclopedia-like Entries in Books:

Membrez, Nancy J. “Carlos Arniches.” Modern Spanish Dramatists: A Biobibliographical Sourcebook. Ed. Mary Parker. Westport, CN: Greenwood Press, 2002. 47-55.

_____. Annotation and review of 1) Feministas Unidas Newsletters; 2) Carmona González, Angeles. La mujer en la novela por entregas del siglo XIX. Sevilla: Caja San Fernando, 1990; 3) Nieva de la Paz, Pilar. Autoras dramáticas españolas entre 1918 y 1936 (texto y representación). Madrid: Consejo Superior de Investigaciones Científicas, Instituto de Filología, 1993; 4) Simón Palmer, María del Carmen. Escritoras españolas del siglo XIX. Manual bio-bibliográfico. Madrid: Castalia, 1991 (250 words a piece). An Annotated Bibliography on Criticism of Hispanic Women Writers. Ed. Lou Charnon Deutsch (University of New York-Stonybrook), 1994.

_____. Annotations for Rosario Acuña, Pastora Echegaray, Micaela de Silva, Josefina Romo, María del Pilar Sinués de Marco, María Isidra Quintina Guzmán de la Cerda, Joaquina García Balmaseda, María Gertrudis de Hore and their works. Women Writers of Spain: An Annotated Bio-Bibliographical Guide. Ed. Carolyn L. Galerstein. New York: Greenwood Press, 1986.

Conference Proceedings:

Membrez, Nancy J. “El surrealismo en los anuncios comerciales televisivos de Eliseo Subiela.” Actas del Cuarto Congreso ASAECA, held at the Universidad Nacional de Rosario (Argentina), 2014. 12 pp. http://www.asaeca.org. 2015.

_____. “Cincuenta años de locura: de Un largo silencio (1963) a Hombre mirando al sudeste (1986) a Paisajes devorados (2013), de Eliseo Subiela.” Actas del Tercer Congreso ASAECA. Universidad Nacional de Córdoba, Córdoba, Argentina, 2012. Published on- line http://www.AsAECA.org/aactas/membrez__nancy_- _ponencia.pdf and on CD. 2013.

_____. “The Musical Symbiosis of Stage and Street: the zarzuela chica and the organillo.” Purdue University Romance Languages Annual (1990): 491-495.

_____. “Llévame al cine, mamá: The Cinematograph in Spain 1896-1920.” Purdue University Romance Languages Annual (1989): 540-547.

Published Reviews in Journals:

_____. Review of Teatro histórico: Textos y representaciones. Ed. José Romera Castillo (1998). Anales de la Literatura Española Contemporánea 27.1 (2002): 248-251.

_____. Review of Tales from the Mountain, by Miguel Torga. Trans. Ivana Carlsen. Translation Review 48/49 (1995): 62-64.

_____. Review of The Nine Guardians by Rosario Castellanos. Trans. Irene Nicholson. Translation Review 47 (1995): 60-62.

_____. Review of Teatro en democracia. Ed. José Monleón. Estreno (Fall 1994): 51.

_____. Review of the Basque film Ke arteko egunak (Días de humo). Hispania 75.1 (Mar. 1992): 235-236.

_____. Review of the video Segunda enseñanza: Los pueblos del caballo. Hispania 74 (May 1991): 469-470.

_____. Reviews of the videos Spain: Everything Under the Sun (English sound track) and España: todo bajo el sol (Spanish sound track). Hispania 73 (May 1990): 543-544.

Edited and Annotated Transcriptions in Books/Journals:

Membrez, Nancy J. “Mesa redonda con los directores de cine Juan Carlos Valdivia, Celina Murga, Mariana Chenillo, Carlos Marqués-Marcet, Javier Corcuera y Gabriela Martínez Escobar.” Special Issue of Peripherica (Journal of Social, Cultural, and Literary History): Image and Storytelling: New Approaches to Hispanic Cinema and Literature. 7

Eds. Isabel Jaén-Portillo and Gina Herrmann. v.1 nº2 (2020). Publication date was postponed from December 2019 and may be postponed again because of the lockdown.

_____. “Mesa redonda con Helena Taberna (autora-directora española), Andrés Martorell (guionista español), Eliseo Subiela (autor-director argentino), y Jorge Ruffinelli, Stanford University.” Cine-Lit V: Essays on Hispanic Film and Literature. Eds. J. Martí Olivella, G. Cabello Castellet and G.H. Wood. Portland, OR: Portland State and Oregon State University, 2004. 153-172.

_____. “Mesa redonda con las directoras de cine Lucrecia Martel, Natalia Cabral y Almudena Carracedo.” Cine-Lit IX. Editing in progress. 2019-2021. Delayed because of the lockdown.

Other Kinds of Publication: On-line and on DVD:

Membrez, Nancy J. “Hemerografía del cine argentino en La Maga (Buenos Aires, 1991- 1998).” Introductory essay and 945 entries in pdf (and Endnote). Uploaded to www.academia.edu Jan. 2, 2020.

_____. “Film Grammar” and “Gramática del cine” (8-min. trainer films.) Coords. Erin Hogan, University of Maryland-Baltimore County, and María García-Puente, Cal State- San Bernardino asked to post. Cinemaestro Web Site. https://sites.google.com/umbc.edu/ cinemaestro. 2017. Also on my Vimeo channel.

_____. Introductory essay on Eliseo Subiela and his film Man Facing Southeast for the Kino Lorber DVD/Blu-ray liner notes. 1500 words. Robert Sweeney, producer and contact ([email protected]). Kino Lorber DVD/Blu-ray of Man Facing Southeast. 2016.

_____. “Screenwriter-Director Eliseo Subiela Talks About Madness and Man Facing Southeast.” Interviewed, shot, edited, and subtitled my interview with Eliseo Subiela in Montreal, Canada on Aug. 28, 2016. 20 mins. It is a featurette of the Kino Lorber DVD/Blu-Ray of Man Facing Southeast. 2016.

_____. “Actor Hugo Soto Talks About Man Facing Southeast and Working with Writer- Director Eliseo Subiela, in 1993.” Camera and Interviewer Jorge Ruffinelli, Stanford University (1993). Newly restored, edited and subtitled by NJM. 22 mins. It is a featurette of the Kino Lorber DVD/Blu-ray of Man Facing Southeast. 2016.

_____. “Director of Photography Ricardo de Angelis Talks About Man Facing Southeast.” Interviewed, shot, re-edited to 26 mins., and subtitled this piece. It is a featurette of the Kino Lorber DVD/Blu-ray of Man Facing Southeast. 2016.

Foundation for the Advancement of Higher Learning, Boston, MA). A collaboration in our studio of Dr. Marcos-Marín, an advanced Media Studies student crew, and me. My role was director, camera one, additional photography around campus; three stills from my collection (seen during the film), and 100 hours of editing, including the incorporation of Dr. Marcos-Marín’s personal photographs and creation of all titles and final credits. The film is being shown to doctoral candidates at four major Spanish universities and is posted to the Foundation's Youtube channel. Later, it was posted to Dr. Marcos-Marín’s blog. I made HD-DVD copies for cast and crew and one archival copy for the Lab. I re-edited the film to 33 mins. at Dr. Marcos-Marín’s request to run on the DMLL website. 2016.

_____. 8-min. instructional film “Film Grammar” in English and in Spanish. 2008. Revised these 2013 (5th ed.). Version in French: “Petite Grammaire du Film” with Cristian Bratu (Baylor University). 8 mins. On my Vimeo channel.

_____. 500 words on Subiela and Dark Side of the Heart for facets.org on-line. 2003.

Translation and Subtitling Non-Traditional:

Membrez, Nancy J. Translation. Subiela’s screenplay El amor complica todo (Love Complicates Everything). 2013. 90 pp.

_____. Translation. Subiela’s Hombre mirando al sudeste (Man Facing Southeast), theatrical version. 2013. 29 pp. Registered with the Writers Guild-East.

_____. Translation. 8-page treatment of Subiela’s Vito y Zoé, a blurb, a 100-word synopsis, and 200-word synopsis. 2010.

_____. Translation. 8-page treatment of Subiela’s musical comedy La biografía no autorizada de Adán y Eva (The Unauthorized Biography of Adam and Eve) plus a blurb, a 100-word synopsis, and 200-word synopsis. Sent to producers in Hollywood, 2008.

_____. English Subtitles. Subiela’s short subjects “Un largo silencio” (20 mins.), “Testigos” (8 mins.); “Sobre todas estas estrellas” (20 mins.). 2008.

_____. Spanish Subtitles. Subiela’s “Un largo silencio” (20 mins.) because parts of the sound track are damaged. 2008.

Other Creative Activities:

Literary Publication: Poetry:

Membrez, Nancy J. “Enlightenment” (poem). The Austin International Poetry Festival (AIPF) Anthology, di-vêrsé-city. Ed. Dr. Ronald Jorgenson. Austin, TX: Austin Poets 9

International, 2020. 111.

_____. “Keyboard Love” (poem). The Austin International Poetry Festival (AIPF) Anthology, di-vêrsé-city. Ed. Dr. Ronald Jorgenson. Austin, TX: Austin Poets International, 2019. 58.

_____. “Ode to a Photocopy.” (poem). The Austin International Poetry Festival (AIPF) Anthology, di-vêrsé-city. Austin, TX: Austin Poets International, 2018. 67. Only 116 poems were chosen out of over 500 submitted. Honorable Mention.

_____. “Shipwrecked Under Scorpio.” (poem). The Austin International Poetry Festival (AIPF) Anthology, di-vêrsé-city. 25th Anniversary. Austin, TX: Austin Poets International, 2017. 94.

_____. “Ode to a Carrot” (poem). The Austin International Poetry Festival (AIPF) Anthology, di-vêrsé-city. Ed. Dr. Ronald Jorgenson. Austin, TX: Austin Poets International, 2016: 107. It also placed 5th (an Honorable Mention).

_____. “Nine Minutes” (poem). The Austin International Poetry Festival (AIPF) Anthology, di-vêrsé-city. Ed. Susan Q. Stockton. Austin, TX: Austin Poets International, 2015. 35.

_____. “Correo electrónico” (poem) is included in Para siempre, a beginning Spanish conversation book written by Marta Montemayor and Marino de León. Houghton- Mifflin, 2009. 2nd ed., 2013.

_____. “Tiramisu 2” (poem). Voices Along the River. San Antonio, TX, 2012. 124.

_____. “Mirror Shock” (poem). The 2012 Anniversary Celebration Edition of the Austin International Poetry Festival (AIPF) Anthology, di-vêrsé-city. Ed. Barbara Youngblood Carr. Austin, TX: Austin Poets International, 2012. 52.

_____. “Don Quixote de la Mesa” (poem). Forrest Fest Recycled Anthology 2012. Ed. Connie Williams. La Mesa, TX, 2012: 28-29.

_____. “De-Angeled” (poem). Voices Along the River 2011. San Antonio, TX, 2011. 164.

_____. “Gray Matter” (poem). Austin International Poetry Festival Anthology di-vêrsé-city 2011. Ed. Barbara Youngblood Carr. Austin, TX: Austin Poets International, 2011. Only 110 poems were selected from among 700 entries.

_____. “Life Sentence” (poem). The Dreamcatcher.” San Antonio, TX, 2011.

_____. “El hombre gramatical” (poem). Labrapalabra Blog (Santiago Daydi-Tolson). On- line. 2011.

_____. “The Tuxedo” (poem). First Prize. Forrest Fest Anthology. La Mesa, TX, 2011. 10

_____. “Rainlilies” (poem). Voices Along the River 2010. San Antonio, TX, 2010.

_____. “In Cyberspace” (poem). Second Prize. Forrest Fest Poetry Anthology. La Mesa, TX, 2010.

_____. “E-mail: Reply to Sender” (poem). Austin International Poetry Fair Anthology di- vêrsé-city 2010. Ed. Barbara Youngblood Carr. Austin, TX: Austin Poets International, 2010: 38. Only 100 poems were chosen out of 678 submitted.

_____. “Google Search” (poem). Honorable Mention. The Dreamcatcher. San Antonio, TX, 2010.

_____. “Copper Ore” (poem). Voices Along the River 2009. San Antonio, TX, 2009. 113.

_____. “E = mc2” (poem). The Dreamcatcher. San Antonio, TX, 2009. 76.

_____. “The Men’s Department” (poem). Voices de la Luna. A Quarterly Poetry and Arts Magazine 2.1 (15 Sept. 2009): 234.

_____. “Gingko” (poem). Voices Along the River. San Antonio, TX, 2008. 144.

_____. “Small Epiphanies: Kindergarten Recess” (poem). Honorable Mention. The Dreamcatcher. San Antonio, TX, 2008.

_____. “Hope” (poem). Voices Along the River. San Antonio, TX, 2007. 114.

_____. “500 Kisses” (poem). First Prize. Peggy Zuleika Lynch Poetry Award. Forrest Fest Poetry Contest in La Mesa, Texas. The Forrest Fest 2007 Anthology. La Mesa, TX, 2007. 19.

_____. “Weather Report” (poem). Voices Along the River. San Antonio, TX, 2006. 99.

_____. “Dowagers” (poem). Voices Along the River. San Antonio, TX, 2005. 122.

_____. “E-Mail: Red Flag” (poem). Honorable Mention. San Antonio Poetry Fair. Voices Along the River. San Antonio, TX, 2004. 10.

_____. “Ancianas,” “Mensaje estrellado,” and “Correo electrónico: Respuesta al remitente,” as well as several of my photographs: “Lirio,” “Lirios de lluvia,” “Moras” [sic]. Labrapalabra Nº1 (2005). On-line.

_____. “June in San Antonio” (poem). Honorable Mention. San Antonio Poetry Fair 2003. Voices Along the River. San Antonio, TX, 2003. 33.

_____. “Necessary Surgery” (poem). Honorable Mention. Voices Along the River. San 11

Antonio, TX, 2002. 13.

_____. “Valentine’s Day 2001” (poem). Honorable Mention. San Antonio Poetry Fair. Voices Along the River. San Antonio. 2001. 4.

Literary Publications: Short Story:

Membrez, Nancy J. “Cine Hiperión.” Labrapalabra on-line. Spring 2006.

Literary Publications: Essay:

Membrez, Nancy J. “Commentary: The War on the Augmentative.” The Paisano (Apr. 25, 2012). 500 words.

_____. “Fall Back, Spring Forward” (essay). The Luminous Page, UTSA on-line. F 2005.

_____. “Thumbtack.”. The Luminous Page, UTSA on-line. F 2004.

_____. “Tocayas”. The Luminous Page, UTSA on-line. 2004.

_____. “Chromosome 17.” The Luminous Page, UTSA On-line 4 (2002).

_____. “Pornography and the Single Academic.” San Antonio Current (May 16, 2002): 63. Accessible on-line.

_____. “Mass Turbation” (essay). San Antonio Current (May 9, 2002): 63. Accessible on- line.

_____. “Me and My Shadow.” College of Wooster (Alumni) Magazine (Spring 2002): 30.

_____. “Writing Home: Detecting Sure Signs of Book Creep.” Wooster (Alumni) Magazine (Fall 2001): 4.

Literary: Looking for a publisher:

Membrez, Nancy J. Rhapsodies from Cyberspace/Rapsodias del Ciberespacio. Book of poems. 2007. 82 pages (in each language).

Audio-Visual:

Feature Film:

Membrez, Nancy J. Portrait in Sepia Tone. Digital Feature Film. Writer, director, producer, wardrobe and prop mistress, production designer, set builder and painter, set dresser, shooter and editor. 1:54. 2008.

In Jun. 2009, the MPAA officially rated my film “PG-13 for sexual content and some drug material.”

Screened at the 25th International Film Festival in Bogotá, Colombia. The Skandia Cinema. Oct. 9, 2008.

Screened at the International Filmmaker Festival in Kent, England. 2 prizes and 4 additional nominations. Jun. 2008.

_____. Completed a feature-length screenplay, Portrait in Sepia Tone. Script is registered with the Writers’ Guild of America. 2004. I also completed the script in Spanish for subtitling.

Short Subjects:

_____. Directed, filmed and edited Una mariposa blanca (Chile. 1964) by Gabriela Roepke, with a student cast. DVD. 30 mins. 2012. On my Vimeo channel.

_____. “Museo del Cine.” I filmed and edited my interview with Paula Félix-Didier, the director of the Cinema Museum in Buenos Aires, Argentina. 6 mins. DVD Archival copy in the DMLL Lab. 2010. On my Vimeo channel.

_____. Wrote, shot and edited my digital short “El escritor/The Writer.” 7 mins. With and without English subtitles. Shown at our DV Festival in 2005 and at the Memory in World Cinema Conference, 2010. On my Vimeo channel.

_____. Re-cut my sixteen 30-second Public Service Announcements for Hispanic Heritage Month. 2003. On my Vimeo channel.

_____. Wrote, shot and edited eight more 30-second PSAs for the Spanish Program at UTSA. Narrators: S. Daydí-Tolson and NJM. 2003.

_____. Wrote, shot and edited “The Penguin’s Complaint,” a 3-min. film for children. Also produced a Spanish version. 2003. On my Vimeo channel.

_____. Wrote, shot and edited “The Turtledove,” a 12-min. film. 2003.

_____. Wrote, shot and edited “The Sombrilla at UTSA,” a 1-min. film. 2003.

_____. Wrote and illustrated storyboards and slogan for the Dept. of Modern Languages and Literatures’ campaign: “Reach Out to the World.” 30-second PSAs in English. 2003. 13

Membrez, Nancy J. and Ritsa Winters. Wrote, shot, and edited a 3 1/2-min. PSA for Palo Alto College. 2002. Still running at http://www.accd.edu/main/html/ registration/videos/ pac_video.htm.

Membrez, Nancy J. “Lifesaver/ Salvavidas.” Wrote, shot, and edited this 3 ½-min. narrative film. 2002. On my Vimeo channel.

_____. “Jigsaw Puzzle” Wrote, shot, and edited 1-min. film. 2002. On my Vimeo channel.

_____. Scripted, shot, edited and produced seven 30-second video spots advertising the BA and MA in Spanish at UTSA for DMLL. Narrator: S. Daydí-Tolson. Slogan “El español: la lengua de tu alma/ Spanish the Language of Your Soul.”

Screening. “New Vistas in Video Contest,” Northwest Vista College. 2002 Screening. The Foreign Languages Awards Ceremony at UTSA. 2002. Screening. Spanish-language channels in San Antonio as PSAs. 2002.

Audio-Visual: Other:

Membrez, Nancy J. Executive producer of student videos, including Videopostcards, interviews, Final Projects, and PSAs for the Department of Modern Languages and Literatures. (2003—).

_____. Founded my production company Point at the Moon Productions Inc. San Antonio, TX, 2005.

_____. I dressed professional actor Craig Rainey for his role as a vampire for Non-Filtered Productions, San Antonio, TX. Sum 2005.

_____. On behalf of Eliseo Subiela, one of several directors of the film, I investigated the whereabouts of the clandestinely-made Argentina 1969: Los caminos de la liberación, an historically important film considered lost or irreparably fragmented and damaged. Based on information he provided me, I combed the internet and wrote letters of inquiry to Havana and Berlin. The Germans replied that they indeed had a pristine copy of the film in their archive. I gave the information to Subiela, who in turn gave it to the Argentine Directors Guild (DAC). The recovered film was shown in Buenos Aires in Jun. 2004 at the Museo de Arte Latinoamericano de Buenos Aires (MALBA) and in a private showing to Argentine President Néstor Kirchner. Formal thank you letter from Eliseo Subiela on behalf of the DAC. 2003-2004.

_____. Theme for Women’s History Week: “Women Who Inspire Us.” 2000.

_____. Co-author of theme for Women’s History Week: “Chispas de mujer/Mujeres de chispa: Forging Communities.” 1999. 14

_____. Co-author of theme for Women’s History Week: “Uppity for 150 Years.” 1998.

_____. Co-author of theme for Women’s History Week “Telling Our Stories/Contando nuestras historias.” 1997.

_____. Theme for Women’s History Week “Women Shaping the Future” (playing on the UTSA 25th anniversary theme). 1995.

Graphics Published:

Membrez, Nancy J. Poster design for the Memory in World Cinema conferences I organized. 2010 and 2011.

_____. Poster design for The Child in World Cinema conference I organized. 2009.

_____. A Basque alphabet font for the Macintosh. 1993.

_____. The Iberia and Alfabeto fonts of Hispanic images for Macintosh applications. Also digitized Hispanic clip art (MacPaint). 1988.

Public Lecture and Conference Participation:

Invited/Guest Lectures:

Membrez, Nancy J. “El estudio del cine.” Introduction to Graduate Studies (M. Wallace). Sept. 6, 2019.

_____. “El estudio del cine.” Introduction to Graduate Studies (M. Wallace). Sept. 24, 2018.

_____. “Luis Buñuel, Director.” Plus 20-slide powerpoint. Homenaje a Luis Buñuel. Organizer: Dr. Juan Carlos Moreno. Sponsored by the Casa de España, the Casa argentina, The Amigos de Colombia, The Amigos de Chile, etc. UTSA DT. 2013.

_____. An “Arte-terapia” seminar. Invited by artist Jorge Hernando Bravo. Belgrano, Buenos Aires, Argentina. May 30, 2012. 6-11 p.m.

_____. “Dreaming with Our Eyes Open.” East Stroudsburg University (East, Stroudsburg, PA). Host: Jeff Ruth. 2010.

_____. “Hispanic Women Writers” in one class plus short subject “Rolando Briseño” in two different classes. The University of St. Thomas (Houston). 2009.

_____. “Film studies.” Plus short subject “Film Grammar” and a Portrait in Sepia Tone clip. 15

World Cinema class. The University of Houston. 2009.

_____. “From Professor to Filmmaker.” Plus the short subject, “Film Grammar” and a Portrait in Sepia Tone clip. The French Film Conference, Texas State University, San Marcos. 2008.

_____. “Still Dreaming with Our Eyes Open: Teaching Film as Film.” 60 mins. The Cinema SIG, ACTFL. Plus a work-in-progress short subject “Gramática del cine.” San Antonio, TX. 2007.

_____. “Dreaming with Our Eyes Open: Teaching Film as Film.” 75 mins. The Cinema SIG, ACTFL. Organizer: Marilyn Kiss. Nashville, TN. 2006.

_____. Invited Guest. The premiere of Eliseo Subiela’s film Lifting de corazón/Heartlift. The Miami International Film Festival in Miami, FL, Mar. 3, 2006.

_____. Invited Guest.“Presentation and q and a” with Subiela. Books and Books Bookstore and Cultural Center, Coral Gables, FL. Mar. 4, 2006.

_____. Host of q and a, at Warner’s behest, after the sneak preview of the film Infamous. Bijou Theater, San Antonio. Oct. 10, 2006.

_____. “The History of Film” and “Commentary on Cantinflas.” Sponsor: Marilyn Kiss. Wagner College, Staten Island, NY. 2004.

_____. “Film Studies.” Barnard College (Columbia University), NY. Sponsor: Flora Schminovich. 2004.

_____. “Shadows: The Evolution of My Graphic Narrative.” Dr. Stephen Miller’s graduate class on Structure and Narrative. Texas A & M University. Plus Public Exhibition. All my short subjects. 2003.

_____. “Soñar despiertos: Film Studies and Adventures in Digital Video Production for Spanish Professors.” Invited speaker at SC-MLA, Austin. Hispanist Breakfast. Host: Stephen Miller. 2002.

_____. Invited Interpreter/ translator for the “Homage to Eliseo Subiela.” The Wine Country Film Festival, Napa Valley, California. Aug. 1-6, 2002.

_____. Discussant/interpreter on the following panels with Mr. Subiela, Carroll Ballard, and other filmmakers: “The Poetics of Cinema” and “From Haiku to Breakthrough in Digital Video.” Aug. 1-6, 2002.

_____. “Making the Invisible Visible: Language, Notions of Culture and Women’s Arts.” Keynote speaker at the 3rd International Student Reunion at University Oaks, UTSA. Event organizer: Verónica Castro. 1995. 16

_____. “La (re)invención de Madrid en el teatro por horas: tipomanía y lenguaje.” The Congreso Internacional Carlos Arniches y su obra (sponsored by the Instituto Juan Gil Albert, Diputación de Alicante, and the Universidad de Alicante, Alicante, Spain). Organizer: Juan A. Ríos Carratalá. 1993.

_____. “España 1975-1992: entre la tradición y la modernidad.” San Antonio Chapter of AATSP. 1992.

_____. “Su majestad la opereta vienesa y la zarzuela grande.” The Teatro en España: Entre la tradición y la vanguardia 1918-1936 Symposium, Madrid, Spain, sponsored by the CSIC (María Francisca Vilches and Dru Dougherty) and the Fundación García Lorca. 1992.

Rosa A. Hernández. “Más de 40 especialistas analizan el teatro de principios de siglo en España.” El Sol (4 feb 1992).

Diego Jalón. Un seminario internacional pasa revista a los años cruciales del teatro español. ‘Entre la tradición y la vanguardia’ reíne a medio centenar de especialistas.” ABC (4 feb 1992).

_____. “Women in 19th and Early 20th Century Spanish Periodicals.” California State University, San Bernardino, Quincentennial Speaker Series. 1991.

____. “Women in 19th and Early 20th Century Spanish Periodicals.” Conference on Luso- Hispanic and Francophone Women Writers. Wichita State University, Wichita, KS. 1991.

_____. “Woman's Place in the Hispanic Vision.” Dr. Gabriel Berns' Spanish literature classes. The University of California, Santa Cruz, CA. 1985.

_____. “Lorca en Nueva York y Nueva York en Lorca: La geografía de Poeta en Nueva York.” Dr. Gabriel Berns' Spanish literature classes. The University of California, Santa Cruz, CA. 1984.

_____. “La mujer encerrada: Woman's Culture and Woman's Place in Bodas de sangre, Yerma and La casa de Bernarda Alba.” Dr. Gabriel Berns' Spanish literature classes. The University of California, Santa Cruz, CA. 1983.

Panel Chair, Panel Secretary, and Moderator:

Chair and Secretary (Sec. Ian Radzinski did not attend.) The Global Film Session, SC-MLA, San Antonio, 2018.

Secretary of two Global Film Sessions. SC-MLA, Tulsa, 2017.

Chair. The Hispanic Film Session, SC-MLA, Dallas, 2016.

Chair. Two sessions: “Independent Documentaries” and “Argentine Cineastes.” Cine-Lit VIII, Portland, OR. 2015.

Chair. The first Multimedia Session (of two) at the COLFA Research Conference at UTSA, 2015.

Chair. Panel at the Food and Other Arts conference, UTSA. Organizer: S. Daydí-Tolson. 2014.

Chair. Panel at the Food Representation, Literature, Film, and the Other Arts Conference, UTSA. Organizer: S. Daydí-Tolson. 2012.

Welcomer/ first speaker “Pointing at the Moon”/ liaison for The San Antonio Poetry Fair VII-XIV, sponsored by DMLL at the Downtown campus. 2005-2011. Filmed and produced a DVD of the event and 10-min. highlights. Arranged for the San Antonio Poetry Fair to move to UTSA downtown in F 2005.

Chair. Two sessions. Cine-Lit VII, Portland, OR. 2011.

Introduced Dr. Howard Besser, NYU, keynote speaker at the Memory in World Cinema 2 Conference. UTSA. 2011.

Chair. Panel and introduced a film at the Memory in World Cinema conference, UTSA DT. 2010.

Chair. Two panels at the Food and the Arts Conference, UTSA. Organizer: S. Daydí-Tolson 2010.

Chair. Several panels. The Child in World Cinema Conference. UTSA DT. 2009.

Chair. Panel at the Atrium conference at UTSA DT. Organizer: S. Daydí-Tolson. 2009.

Introduced speakers Rafael Salaberry and Marvin D’Lugo. The Child in World Cinema Conference. UTSA DT. 2009.

Organizer, Chair, and Respondent: Special Session on “Eliseo Subiela: The Poet of Argentine Film.” With Subiela’s permission, I screened his first film Un largo silencio (1963) with my Spanish subtitles. SC-MLA, San Antonio. 2008.

Chair. Panels: “The Magic of Film” and “What Makes Foreign Films Foreign?” The 5th European Film Festival at the Palladium Theater. 2008.

Introduced plenary speakers Dona Kercher and Cathleen Rountree. European Film Conference. UTSA DT. 2008. 18

Organizer and panelist. “Sesión sobre el cine de Eliseo Subiela: Cine y literatura.” Latin American Studies Association (LASA). Montreal. 2007.

Chair. Panel: “Teaching the Spanish Civil War.” Cine-Lit VI (Portland, OR). 2007.

Moderator and Panelist for the Third San Antonio European Film Festival at the Palladium Theater. Panelists: Bernd Moeller, Larry Ratliff, and German filmmaker Saskia Jell. Sponsored by UTSA. 2006.

Moderator and Panelist. The Second San Antonio Forum on Contemporary French, German, Italian, and Spanish Film. European Cinema in Transition at the Palladium Theater. Panelists: Carol Adams-Means, Dora Fitzgerald, and Alain the French Chef. Sponsored by UTSA. 2005.

Chair. “Food and Peninsular Literature session.” Food Representation, Literature, Film, and the Other Arts Conference. UTSA. Organizer: S. Daydí-Tolson. 2004.

Moderator. Panel: “New European Film.” Movie critic Larry Ratliff, Dr. Sandra X, Dr. Virginia Higginbotham, UT Austin. Sponsored by UTSA and the consuls of Spain, Italy, Germany, and France. Bijou Theater, Crossroads Mall, San Antonio. Mar. 22, 2004.

Chair. Panel: “Mexican Film.” Transnational Cinema Conference, University of London, London, England. 2003.

Chair. Second Session on Eliseo Subiela’s Films. Cine-Lit V (Portland). 2003.

Chair. Three panels. The Food, Literature, Film and Other Arts Conference. Organizer: S. Daydí-Tolson. UTSA. 2002.

Moderator and participant. “Women Making It in Academia.” Women’s History Week. UTSA. Also created a handout for the event. 2000.

Chair. Panel: “Mexican Directors.” Cine-Lit 2000, Portland, OR. 2000.

Organizer/Music coordinator. Introduction. A 60th Anniversary Homage to Federico García Lorca, a public event as the climax of my seminar on this author. Aug. 1, 1996.

My film class (SPN 4513) hosted Como agua para chocolate (scripted by Laura Esquivel based on her best-selling novel). I offered an introduction and handout. Women’s History Week. 1995.

Chair. Panel: “Cine y narrativa latinoamericanos.” Cine-Lit II, Portland, OR. 1994.

Organizer and Chair. Two-hour Panel of seven faculty members and one graduate student: “Celebrating Change: Women Writers from Around the World.” Papers and bilingual 19

readings for Women’s History Week at UTSA. 1993.

Chair. A panel. Symposium “The Child in Hispanic Literature.” San Diego State University, San Diego, CA. 1990.

Session organizer and Chair. Plus Introduction. “The Status of género chico Studies, 1989.” MLA-Washington, D.C. 1989.

Organizer and Chair. The Zarzuela panel: special topic: La zarzuela política. AATSP, Denver, CO. 1988.

Papers Read at Conferences:

Membrez, Nancy. J. “Trauma, Amnesia and Alzheimer’s on Belgian TV: Tabula Rasa (2017).” With Powerpoint. The Global Film Session, SC-MLA, Houston, F 2021.

_____. “Apostillas históricas a Muerte de un ciclista (Bardem, 1955).” With Powerpoint. Cine y franquismo conference at the Universidad de Carlos III (Getafe, Madrid). Feb. 18, 2020.

_____. “Apostillas a Muerte de un ciclista (Bardem, 1955).” With Powerpoint. Cine-Lit IX (Portland, OR). 2019.

_____. “Subiela and Godard: A Notebook.” With Powerpoint. The Hispanic Film Panel, SC- MLA, San Antonio, 2018.

_____. “A Memento Mori: ‘El camion’ [“The Van”] (2000) by Eliseo Subiela.” I showed the 1-min. film with permission and a Powerpoint during my presentation in the Hispanic Film Session. SC-MLA. Tulsa, 2017.

_____. “Collaborating with Argentine Filmmaker Eliseo Subiela.” The Trafilm Conference (translation, interpretation), Barcelona. 2017;

_____. “Collaborating with Argentine Filmmaker Eliseo Subiela.” The Global Film Session. SC-MLA, Dallas. 2016.

_____. “A Bent Antenna: Subiela and the Conundrum of K-PAX.” Cine-Lit VIII (Portland, OR). 2015.

_____. Screening: my 2 1/2-min. film “Primera tarde de rodaje con Eliseo Subiela en el Teatro San Martín.” Cine-Lit VIII (Portland, OR). 2015.

_____. “El doble en Hombre mirando al sudeste de Eliseo Subiela.” Hispanic Film Session. SC-MLA. Austin. Chair: Genaro Pérez. 2014.

_____. “El surrealismo en los anuncios comerciales televisivos de Eliseo Subiela.” ASAECA 20

conference on Argentine Cinema. Universidad Nacional de Rosario (Argentina). 2014.

_____. “Fifty Years of Madness: from A Long Silence (1963) to Man Facing Southeast (1986) to Vanishing Landscapes (2012), by Eliseo Subiela”. With Powerpoint. Film Session, SC-MLA, San Antonio. 2012.

_____. “Cincuenta años de locura” ASAECA conference on Argentine Cinema. Universidad Nacional de Córdoba (Argentina). 2012.

_____. Presentation. “Screening the Past: Early Cinema in Spain and Argentina.” Memory in World Cinema 2 Conference. UTSA. 2011.

_____. “Breves pero punzantes: los anuncios comerciales de Eliseo Subiela.” Memory in World Cinema 2 Conference. UTSA. 2011.

_____. “Breves pero punzantes: los anuncios comerciales de Eliseo Subiela.” Memory in World Cinema 2 Conference. Cine-Lit VII, Portland, OR. 2011

_____. Screening. my “Interview with Paula Félix-Didier, director of the Museo del Cine, Buenos Aires Argentina.” 6 mins. Cine-Lit VII, Portland, OR. 2011.

_____. Screening. My 16 Hispanic Heritage spots (9 mins. total) and “El escritor” (8 mins.). Videopoesía Panel. Memory in World Cinema conference, UTSA DT. 2010.

_____. Screening. “Interview with Paula Félix-Didier, director of the Museo del Cine, Buenos Aires Argentina.” 6 mins.. Memory in World Cinema conference, UTSA DT. 2010.

_____. Workshop. “Children's Toys and the History of Film” (one hour). The Child in World Cinema Conference. UTSA. 2009.

_____. Workshop. “Digital Filmmaking.” 4 hours. With Michael Madison. The Child in World Cinema Conference. UTSA. 2009.

_____. “Media Studies.” Plus Screening: “Film Grammar.” Brown Bag Lunch Speaker for the Social Science Laboratory. Jeffrey Halley, host. UTSA. 2008.

_____. Workshop. “Film Studies Workshop: Optical Toys and Training the Eye.” Plus Exhibition: “Film Grammar.” 8 mins. European Film Conference. UTSA. 2008.

_____. Screenings. my Portrait in Sepia Tone. International Filmmaker Festival, Kent England. Q and A. Lectured to Thanet College Media Studies students (Nigel Breadman, professor) and to Clarendon House Grammar School (Ramsgate) student filmmakers (Marian Sutton-Jones, professor). Jun. 2008.

_____. Screening. my Portrait in Sepia Tone. Southwest/Texas Popular & American Culture 21

Associations' 29th Annual Conference. Albuquerque, NM. Plus a 4-min. documentary on “Strategies for Re-creating the Texas Edwardian and Beyond in Portrait in Sepia Tone.” Feb. 2008.

_____. Panelist at the Fourth San Antonio European Film Festival. Palladium Theater, San Antonio. 2007. Steve Kellman, moderator.

_____. “Subiela y Cortázar.” Plus Screening: his “Testigos,” an 8-min. short never seen before, with Subiela’s permission. Latin American Studies Association (LASA). Montreal. 2007.

_____. “Workshop on Teaching Hispanic Film Studies.” With Dona Kercher, Assumption College. Cine-Lit VI (Portland, OR). 2007.

_____. “From Professor to Filmmaker.” Plus Screening: short subjects and a clip from Portrait in Sepia Tone. Cine-Lit VI (Portland, OR). 2007.

_____. “Dos pasiones, dos vocaciones.” DMLL. UTSA. 2006.

_____. “Pablo Neruda y la comida: Una celebración.” With S. Daydí-Tolson. Recital, handout, and set design. Food Representation, Literature, Film, and the Other Arts Conference. UTSA DT. 2004.

_____. “Death and the Peon: The Case of the Transnational Macario.” Transnational Cinema Conference, University of London, London, England. 2003.

_____. “My Experience with Web-CT.” UTSA. 2003.

_____. Screening. “La herencia hispánica en (14) videoclips.” Simposio sobre la herencia hispánica. Host: F. Marcos Marín. UTSA DT. 2003.

_____. “Workshop on Teaching Hispanic Film Studies.” Cine-Lit V (Portland, OR) with Dona Kercher. 2003.

_____. “The Argentine Don Juan: The Case of Dark Side of the Heart (1992), by Eliseo Subiela.” Cine-Lit V. 2003.

_____. “The Argentine Don Juan: The Case of Dark Side of the Heart (1992), by Eliseo Subiela.” The University of Leeds World Cinema Conference. Leeds, England. 2002.

_____. “Tres novelistas del XIX (Galdós, Clarín, Palacio Valdés) y el teatro por horas.” SC- MLA Austin. 2002.

_____. “La cenicienta posmoderna: la reescritura de los cuentos de hadas en Pequeños milagros (1997), de Eliseo Subiela.” The Latin American Film Conference: Truth in the Lens, the University of Richmond, Richmond, VA. 2001. 22

_____. “The Postmodern Cinderella: The Reinscription of Fairy Tales in ‘Little Miracles’ [Pequeños milagros], a film by Eliseo Subiela.” SC-MLA, San Antonio. 2000.

_____. “Indio a Indio: la metamorfosis de Macario.” Cine-Lit 2000, Portland, OR. 2000.

_____. “Apostillas a El espíritu de la colmena, de Víctor Erice.” Cine-Lit III, Portland, OR. 1997.

_____. “The Roots of Raíces: The Genesis of El diosero into Film.” Cine-Lit II, Portland, OR. 1994.

_____. “El proceso artístico de Carlos Arniches y José López Silva.” The Universidad de Córdoba, Córdoba, Spain, at the behest of PRESHCO, a consortium of American universities and the Facultad de Filosofía y Letras. 1993.

_____. “Rosario Castellanos: Another Way to be.” Also prepared and printed the program and bibliography. “Celebrating Change: Women Writers from Around the World.” Women’s History Week. UTSA. 1993.

_____. “El tipo teatral modernista.” MLA-New York. 1992.

_____. “Y Dios me hizo mujer” (1974), la Creación según Gioconda Belli.” Conference on Luso-Hispanic and Francophone Women Writers. Wichita State University, Wichita, KS. 1992.

_____. “Delírium tremens: se encaran el teatro popular y el cinematógrafo 1896-1946.” Teatro y espectáculo session organized by Dru Dougherty, MLA-San Francisco. 1991.

_____. “El angel exterminador de Luis Buñuel: auto sacramental cinematográfico.” Cine-Lit I (Portland, OR). 1991.

_____. “The Musical Symbiosis of Stage and Street: the zarzuela chica and the organillo.” The Purdue University Romance Language Conference. 1990.

_____. “Academic Job Hunting.” Lecture to graduate students. San Diego State University, San Diego, CA. 1990.

_____. “Yanquis, filibusteros y patriotas: prensa y teatro en la España del 98.” The Cincinnati Romance Language and Literature Conference, University of Cincinnati, Cincinnati, OH. 1990.

_____. “Yanquis, filibusteros y patriotas: prensa y teatro en la España del 98.” The Spanish Department Seminar series, San Diego State University, San Diego, CA. 1990.

_____. “The Café: Cradle of Nineteenth Century Popular Spanish Theater.” The Romance 23

Relations session subtitled “The Café as a Literary Institution,” MLA-Washington. 1989.

_____. “Llévame al cine, mamá”: The Cinematograph in Spain 1896-1920.” The Purdue University Romance Language Conference. 1989.

_____. “Researching Women in Spanish Periodicals of the 19th and 20th Centuries.” With handouts: “La mujer en el refranero” and “Periodicals from Spain at the University of California, Berkeley.” Seminar series, San Diego State University, San Diego, CA. 1989.

_____. “An Icon is Worth a Thousand Words: Creating Picture Fonts for Macintosh Applications for Use in the Preparation of Foreign Language Materials.” Demonstration and handout. San Diego State University. 1989.

_____. “How to Select, Mount and Use Pictures as Visual Aids in Foreign Language Instruction.” Teacher training demonstration for new teaching assistants, San Diego State University, San Diego, CA. 1989.

_____. “Resources in America for the Study of Spanish Theater, Women's Studies and Cinema.” With two handouts: “Periodicals from Spain at the University of California, Berkeley” and “A List of Libraries.” SC-MLA, Arlington, TX. 1988.

_____. “Eduardo Navarro Gonzalvo and the revista política.” AATSP, Denver, CO. 1988.

_____. “The Rise of the Urban Bourgeoisie and the Mass Production of Theater in Late Nineteenth Century Madrid.” The Works-in Progress Colloquium sponsored by the Literature Board, University of California, Santa Cruz, CA. 1987.

_____. “The Musical Symbiosis of Stage and Street: the zarzuela chica and the organillo.” AATSP, Los Angeles. 1987.

_____. “How to Select, Mount and Use Pictures as Visual Aids in Foreign Language Instruction.” Teacher training demonstration for new teaching assistants. University of California, Santa Barbara, CA. 1979.

Public Lecture: Literary:

Membrez, Nancy J. “Keyboard Love” (poem). The Austin International Poetry Festival (AIPF). Austin. Apr. 5, 2019.

_____. “Ode to a Photocopy” (poem) at The Austin International Poetry Festival (AIPF). Austin. 2018. 24

_____. “Shipwrecked Under Scorpio” (poem) at the The Austin International Poetry Festival (AIPF). Austin. 2017.

_____. “Ode to a Carrot” (poem) at the Austin International Poetry Festival (AIPF). Austin. 2016.

_____. “Time Out of Time” (original short story). Session on the Short Story. Organizer: Julie Chappell. SC-MLA, New Orleans. 2013.

_____. “Texas, Love, and Cobwebs” (a selection of my poetry). The Regional Poets Session, SCMLA, San Antonio. Nov. 2012. My name was inadvertently deleted from the program for this session, but Session leader Julie Chappell can confirm my participation: [email protected].

_____. Featured poet at Forrest Fest Recycled, La Mesa, TX. Host: Connie Williams. 2012.

_____. “Don Quixote de la Mesa” (poem) on KPET Radio, Lamesa, TX as part of Forrest Fest Recycled, 2012.

_____. Featured poet at “Forrest Fest Visits Austin.” Expressions (at the Bahai Center), Austin, TX. Host: Connie Williams. 2012.

_____. Featured poet at the Forrest Fest, La Mesa, TX. I read from my Rhapsodies from Cyberspace. 2011.

_____. “Gray Matter” (poem). The Austin International Poetry Fair at Huston-Tillotson College. Austin, TX. 2011.

_____. Invited to read my poems at the Austin International Poetry Fair. Apr. 15th at the Ruta Maya Café and with 10 other poets on Apr. 17th at the New World Deli. Austin, TX. 2010.

_____. “Google Search” (Honorable Mention). Awaken the Sleeping Poet Festival at SAMA. San Antonio, TX. 2010.

_____. Rhapsodies from Cyberspace. The Regional Poets Session. Organizer: John R.O. Gery. SC-MLA, San Antonio, TX. 2008.

_____. “Small Epiphanies: Kindergarten Recess” (Honorable Mention). The Laurel Crown Poetry Contest, San Antonio. 2008.

_____. “Cine Hiperión” (short story) at the Labrapalabra reception. UTSA. 2006.

_____. “E-mail: Red Flag” The San Antonio Poetry Fair. Trinity University. San Antonio. 2004. 25

_____. “June in San Antonio” (Honorable Mention). The San Antonio Poetry Fair. Trinity University. San Antonio. 2003.

_____. Poetry Recital, by invitation of the Dallas Poets Community. The McKinney. Dallas. Dec. 11, 2002.

_____. “Necessary Surgery.” The 5th Annual San Antonio Poetry Fair. Trinity University. San Antonio. 2002.

_____. “June in San Antonio” as one of 15 finalists (of the original 300 entries) in the Dallas Poets Community Annual National Poetry Contest. The McKinney. Dallas. 2002.

_____. “Valentine’s Day 2001” at the 4th Annual San Antonio Poetry Fair. The Arneson River Theater. San Antonio. 2001.

_____. As one of thirteen finalists of a field of 200 contestants, I read my poems (“An Internet Triptych/Tríptico de Internet”) in a public forum. I received a certificate of achievement at the Dallas Poets Community 6th Annual Poetry Contest. The McKinney. Dallas. 2001.

_____. “May I Have This Dance?” (short story) on radio KOOP in Austin (Apr. 2001); rebroadcast on KRTU in San Antonio.

Teaching Positions and Titles:

Associate Professor of Spanish with Tenure, University of Texas, San Antonio, TX (1997—).

Grad and undergrad level: List of formal courses taught:

FL 3003 Intro to Translation

CHS 1203 Hispanic Culture in English

MES 3113 Latin American Film MES 3113 Spanish Film MES 3333 Beginning Digital Video MES 3333 Screenwriting MES 4333 Advanced Digital Video

SPN 1014 Beginning Spanish language SPN 2333 Latin American Literature in Translation SPN 3043 Introduction to Literature (formerly Advanced Reading) SPN 3063 Advanced Grammar and Composition SPN 3333 Hispanic Women Writers in English Translation 26

SPN 3343 Women’s Literature (Spain and Latin America) SPN 3423 Spanish Literature Since 1700 SPN 3613/5483 Spanish Civilization SPN 3623 Contemporary Spain SPN 4223 Spanish 20th Century Novel SPN 4303 Films of the Spanish Civil War SPN 4303 Literature and Film of the Mexican Revolution SPN 4303/5483 Film Production of Una mariposa blanca SPN 4513 Hispanic Film (sampler) SPN 5373 Introduction to Graduate Studies SPN 5123/4303 and 5483/4953 Spanish Film SPN 5123/4303 Mexican Film SPN 5123/4303 Cuban Film SPN 5123/4303 Argentine Film SPN 5123/4303 Andean Film SPN 5703/4223 History of Spanish Theater SPN 5703 Spanish 20th Century Theater SPN 5703/4953 Seminar on Lorca SPN 5703/4953 Seminar on Lorca and the Silver Age SPN 6973 Advanced Composition SPN 6973 Seminar on the Literature of the Spanish Civil War

During the coronavirus shutdown, my SPN 3063 Advanced Spanish Grammar class moved on-line and my MES 3333 filmmaking class became a screenwriting class (spring 2020)

“Film and Culture.” Course for the US Airforce at UTSA. Sum 2009-2011.

Invited. A one-week seminar on Digital Filmmaking (in Portuguese). National University (Universidade Federal do Rio Grande do Norte), Natal, Brazil. Host: Sebastião Albano. 56 students. 2010.

Developed Media Studies, a new program in Digital Filmmaking and Film Studies for the Dept. S 2003—.

Developed courses for WebCT/Blackboard. 2002—.

Taught classes via closed circuit television to UTSA downtown. For the first three years, I was the only woman and the only humanities professor doing this. 1993-2004.

DMLL Undergraduate Advisor of Record. 1993-2000.

Assistant Professor of Spanish, University of Texas, San Antonio, TX. 1991-1997.

In addition to all the above, advisor/sponsor/set designer and dresser/prop mistress for Independent Study theater production: Los fantoches (10 students). 27

1994.

Lecturer in Spanish, San Diego State University, San Diego CA. 1989-1991.

Spanish 20th century Peninsular literature; Advanced Composition (to native speakers and non-native speakers); intermediate and beginning Spanish language.

Trained, supervised, and evaluated 18 Graduate Teaching Assistants. 1989-1990.

Beatrice M. Bain Affiliated Scholar, Beatrice M. Bain Research Group, University of California, Berkeley, CA. 1988-1989.

Research Associate in Literature, University of California, Santa Cruz, CA. 1988-1989.

Lecturer in Spanish, University of California, Santa Cruz, CA. 1980-1988.

Advanced Composition; Intermediate and Beginning Spanish language courses; History and Culture of Spain.

One section of Crown College Core Course in Science and Technology, frosh seminar (in English). 1983.

Teaching Associate in Spanish, University of California, Santa Barbara, CA. 1976-1980.

Migrant Education Aide (Title I), Carpinteria High School, Carpinteria, CA. 1975-1976.

Teaching Assistant in Spanish, University of Minnesota, Minneapolis, MN. 1972-1975.

Honors and Prizes:

Academic Recognition:

Membrez, Nancy J. MES 3333 student Charlie Adams won first prize for his film in the COLFA Research and Creative Conference. I received $100 as his sponsor. Spr 2020.

_____. “La antena torcida: El enigma de Hombre mirando al sudeste contra K-PAX” (essay) garnered “mención” (Honorable Mention) in the Tercer Concurso de Ensayos Domingo Di Núbila (The Third Domingo Di Núbila Essay Contest) sponsored by the Mar Del Plata International Film Festival, Argentina. Oct. 31, 2014. The Contest only awarded a first prize and two Honorable Mentions. Published in the on-line journal Imagofagia, Spr 2015.

_____. “El peón y la Muerte: el caso trasnacional de Macario.” Revista Latinoamérica (UNAM) 44.1 (2007): 27-58] was downloaded 4,109 times during 2009-2011. It has been recognized as one of the five most downloaded pdfs of the journal for those 28

years. (Reported to me in Sept. 2013.)

_____. Teaching Award from the Honor Society Alliance, UTSA. Certificate and pin. 2003.

_____. Finalist as a distinguished professor, UTSA Alumni Association. Letter and $100. 2003.

_____. Nominated for an Outstanding Teaching Award by DFL faculty. 1998.

_____. Nominated for a teaching award at UTSA. A student representative visited my writing class in spring. 1997.

_____. Outstanding Faculty Award from the Office of the President, San Diego State University, San Diego, CA. Anne L. Smith, a graduating senior honored for academic excellence in the Spanish major at SDSU, nominated me as the faculty member most influential on her academic studies. 1992.

_____. First Prize, Graduate Division: “The Spanish Civil War.” Edwin Corle Book Collection/ Essay Contest. Library, University of California, Santa Barbara, CA. 1979.

_____. Mary Sanborn Allen Award for Achievement Abroad. College of Wooster, Wooster, OH. 1970.

_____. Elected to Sigma Delta Pi Spanish Honor Society, College of Wooster, Wooster, OH 1970; Secretary 1972.

Literary Awards:

Membrez, Nancy J. “Ode to a Photocopy (after Neruda)” (poem). Honorable Mention. Certificate. The Austin International Poetry Festival (AIPF). Austin, TX. 2018.

_____. “Ode to a Carrot (after Neruda)” (poem). 5th Prize (Honorable Mention). Certificate of Excellence. Guest judge: Dr. Katherine Durham Oldmixon. Ed. Dr. Ronald Jorgenson. The judge commented: “Neruda would no doubt appreciate this ode, the carrot cleverly and accurately described and praised. I particularly liked the ending description of the root cousins, the yams.” The Austin International Poetry Festival. Austin, TX. 2016.

_____. “The Tuxedo” (poem). First Prize. Forrest Fest. La Mesa, TX. 2011.

_____. “In Cyberspace” (poem) Second Prize. Forrest Fest. La Mesa, TX. 2010.

_____. “Google Search” (poem). Honorable Mention. Laurel Crown Foundation Poetry 29

Contest. San Antonio. 2010.

_____. “Small Epiphanies: Kindergarten Recess” (poem). Honorable Mention. Laurel Crown Poetry Contest. San Antonio. 2008.

_____. “500 Kisses” (poem). First Prize in a field of some 400 contestants. Forrest Fest. La Mesa, TX. Certificate. 2007.

_____. “E-Mail: Red Flag” (poem). Honorable Mention. San Antonio Poetry Fair. San Antonio. 2004.

_____. “June in San Antonio” (poem). Honorable Mention. San Antonio Poetry Fair. San Antonio. 2003.

_____. “Necessary Surgery” (poem). Honorable Mention. 5th Annual San Antonio Poetry Fair. San Antonio. 2002.

_____. “June in San Antonio” (poem). Finalist by the Dallas Poets Community 7h Annual Contest. Certificate. Dallas. 2002.

_____. “Valentine’s Day 2001” (poem). Honorable Mention. San Antonio Poetry Fair. Arneson River Theater, San Antonio. 2001.

_____. “Internet Triptych/ Tríptico de Internet” (poems). Finalist. Dallas Poets Community 6th Annual Contest. Certificate. Dallas. 2001.

_____. “May I Have This Dance?” (short story) was one of six winners (unranked) of 45 submissions in radio KOOP Austin’s Writing on the Air contest, Radio Anthology of Short Shorts sponsored by the Austin Writer’s League. Stories had to be 500 words or less and include the words: “chandelier,” “turquoise,” and “gospel” in any context. The winners read their stories live on the air on Apr. 14, 2001 in Austin. The 30-min. show “Writing on the Air” was then rebroadcast on KRTU in San Antonio on Saturday, Apr. 21, 2001.

Film Awards:

My name, my actors, and my film Portrait in Sepia Tone are now included in the www.imdb.com. 2009. (By invitation only)

At the International Filmmaker Festival in Kent, England. Jun. 2008, my digital feature film Portrait in Sepia Tone won:

Best Feature Film. Best Sound Track.

It was also nominated for: Best Actor in a Leading Role: Craig Rainey Best Actor in a Supporting Role: John Lansch Best Actress in a Leading Role: Emily Eldredge Best Actress in a Supporting Role: Laurie Lucas

Article on the Festival: Tom Betts, “Cannes-do attitude of film festival chief Carl [Tooney]” and “Your local interview: question and answer: Carl Tooney.” Yourthanet. The Newspaper for Margate, Ramsgate, Broadstairs and District 42 (Jun. 25, 2008): 2, 8.

Graphics Awards:

Membrez, Nancy J. “I Dreamt I was a Human Hand.” Photograph. Third Place. The Laurel Crown Festival Photography Contest. San Antonio, 2008.

_____. A graphic design for the UTSA Women’s History Week logo: Chispas de mujer/Mujeres de chispa: Forging Communities. First runner up: $25. 1999.

Research Grants:

Faculty Development Leave. UTSA. F 2000.

A $600 Deans’ Circle Award and $200 from the Center for the Study of Women and Gender to work at the University of California at Berkeley Libraries. Sum 1999.

$5000 Faculty Research Grant. Office of the Provost. Five weeks in Madrid researching at the National Library and Hemeroteca Municipal. Sum 1997.

$500 Grant from the Center for the Study of Women and Gender, UTSA, to work at the University of California at Berkeley Libraries. Sum 1996.

$2000 Grant from the Office of the Provost to attend “Ninja Turtles, the Macho King and Madonna’s Navel: Taking Popular Culture Seriously.” Professional seminar at Massachusetts Institute of Technology, Cambridge, MA. Sum 1994.

Grant (Division of Humanities, University of California, Santa Cruz, CA). Partial translation of my Ph.D. dissertation into Spanish. 1987.

Instructional Grants:

Web-CT Grant ($500) to attend instructional three-week seminar at UTSA. 2002.

Micro-grant: “Visuals for Spanish Language Instruction.” Media Technology Services, San 31

Diego State University, San Diego, CA. 1990.

Instructional Improvement Grants. Division of Humanities, University of California, Santa Cruz, CA. 1987-1988.

Post-Doc Scholarships:

Basque Studies Consortium Scholarship, University of Nevada, Reno, NV. Studied Basque in San Sebastián, Spain. Sum 1990. Not for credit.

Ph.D. Dissertation and Masters’ Grants and Scholarships:

Patent Fund Grant. University of California, Santa Barbara, CA. 1980.

Intercampus Travel Funds. University of California, Santa Barbara, CA. 1978-1979.

Teaching Associate Mini-grants. University of California, Santa Barbara, CA. 1978-1979.

Luso-American Education Foundation Scholarship (Oakland, CA). Studied Portuguese at the Universidade de Coimbra, Portugal. Sum 1978. + Follow-up meeting with sponsors to show my photo images.

Gulbenkian Foundation Scholarships (Lisbon, Portugal). Studied Portuguese at the University of California, Santa Barbara, CA. Sum 1976-Sum 1977.

M.A. Thesis Grant. Department of Spanish and Portuguese, University of Minnesota, Minneapolis, MN. 1973.

Service to the Department of Modern Languages and Literatures/ Other Departments:

Conferences I organized:

Memory in World Cinema II. UTSA. 2011. + Poster design.

Memory in World Cinema. UTSA. 2010. + Poster design.

The Child in World Cinema. UTSA. 2009. + Poster design.

European Film Conference, UTSA, that ran concurrently with the European Film Festival. 2008.

Spanish Civil War Semicentennial and Homage to Federico García Lorca/ El cincuentenario de la guerra civil española y homenaje a Federico García Lorca. University of California, 32

Santa Cruz. 1986.

Having been contacted by Prof. Claudio Rodríguez Fer, the administrator of the José Angel Valente Chair of Poetry at the University of Santiago de Compostela, Galicia, Spain, I assembled and sent photographs and a poster. Dec. 2013. Pending: digitization of an audio tape of Valente’s presentation from the Spanish Civil War conference I organized in 1986 to which Valente was invited as a distinguished guest.

In 1997, I donated a program and poster from this conference, as well as the program for the Homage to García Lorca held in Aug. at UTSA, to the Fundación García Lorca in Madrid.

Sent a duplicate set to Brandeis University, Waltham, MA, the national depository of the Abraham Lincoln Brigade (1986) and to the Hoover Institution at Stanford University, Stanford, CA (1989).

I donated posters, photographs, press clippings about the conference and other materials to the University of California, Santa Cruz McHenry Library, Special Collections. The Spanish Civil War Semicentennial and Homage to Federico García Lorca (Program). Santa Cruz: University of California, 1986. UCSC Special Collections: DP269.S67. Reading list: Z2694. W37.M45. 1986.

José Ángel Valente, “Los ‘Lincoln’ lo hicieron bien” referring to UCSC events. El País (19 octubre 1986): 12.

Letter of thanks to me from writer Jessica Mitford May 26, 1986.

Designed, mounted and introduced the exhibit of books and memorabilia at McHenry Library and Cowell College. 1986.

Interviewed by Bruce Bratton for local Santa Cruz, CA radio. 1986.

Designed, organized, raised funds, hosted and participated in the weeklong commemoration. 1986.

Mentored Students:

MA Thesis Reader:

María Guadalupe Coreño. “Las actitudes lingüísticas de las madres bilingües y biculturales en San Antonio, Texas: Un estudio de caso de dos madres mexicanas.” Chair: W. Chappell. 2017-2019.

Verónica Pérez-Picasso. “La ciudad de México en tres escritoras novísimas”. Chair: 33

S. Daydí-Tolson. 2012-2013.

Esther Harris. “Influencia nahuatl.” Chair: F. Marcos-Marín. 2009-2010.

Aída Cluxton. “Los peruanos negros.” Chair: S. Daydí-Tolson. 2009.

Irma Bachman. “Amado Nervo”. Chair: S. Daydí-Tolson. 2008.

Luisa Quiroga. “Novela colombiana contemporánea”. Chair: S. Daydí-Tolson. 2008.

Martha Von Ellenrieder. “Ghost Ballads.” Chair: J. Himelblau. 1995-1997.

MA Thesis Reader for another Department:

MA in Art History. Katharine Scherff. “Santa Quiteria in European Art.” Chair: J. Sobré. 2010-2011.

MA Comprehensive Exam Chair:

Kathleen Croom. “El humor negro y Muerte de un burócrata.” 2018-2020. In progress.

Nelson Hernández. “La odisea de la ciencia ficción cubana.” 2013-2014. Student did not complete the thesis.

Kristen Bireley. “La Malinche en el arte mexicano.” 2013.

María Maya Jones. “El costumbrismo en Pepita Jiménez, de Juan Valera.” 2012.

Alissa Yike. “Flamenco en San Antonio” (film documentary and transcription). 2010.

Zulamita Carofilis. “’Los ovnis de oro’ de Ernesto Cardenal y los indios kunas.” 2009-2010.

MA Comprehensive Exam Reader:

Alejandra Barrientos. “La presencia de Kali en los personajes femeninos de Ángeles Mastretta.” Chair: M. Olezkiewicz Peralba. 2017.

Erica Collins. “La traducción infiel: un análisis de tres traducciones de La casada infiel de Federico García Lorca”. Chair: M. Wallace. 2015.

Erika González. “El escándalo, de Alarcón.” Chair: J. Himelblau. 2014. 34

Elsa Romero. “Variedades sociales y variedad de registros en Los de abajo de Mariano Azuela.” Chair: F. Marcos-Marín. 2013.

Marta Bronstein. “Las mujeres en la literatura de Vargas Llosa.” Chair: S. Daydí- Tolson. 2013.

Wanda Cruz-Torres. “El naturalismo en La charca.” 2013. Chair: S. Daydí-Tolson.

Avis Kusi's MA Thesis converted to Comp Exam on Aves sin nido, de Clorinda Matto de Turner. Chair: M. Oleszkiewicz. 2013. I was present for her thesis proposal session.

María Rivera. “Análisis de Sotileza, de Pereda.” Chair: J. Himelblau. 2013.

Julieta Herrera-Garza. “Surgimiento del cuento corto mexicano y sus rasgos distintivos en Confabulario de Juan José Arreola.” Chair: S. Daydí-Tolson. 2012.

Mariana Ward. “Conversación en la catedral, de Mario Vargas Llosa.” Chair: S. Daydí-Tolson. 2011.

Patricia Evans. “El honor en varias piezas de Lope.” Chair: S. Daydí-Tolson. 2010.

Thelma Acevedo. “Bartolomé de las Casas”. Chair: S. Daydí-Tolson. 2009.

América Ahmed. “Cantinflas”. Chair: S. Daydí-Tolson. 2009.

Salomón Valdés. “El lenguaje de la publicidad de San Antonio.” Chair: F. Marcos- Marín. 2009.

BA Thesis Chair. Honors College Capstone Advisor:

Evelyn Head. “Black/Latino Bi-racialism,” an 18-min. documentary film and paper. 2013-2014.

Rawan Arar. “Jordanian Women,” documentary film and paper. 2008.

Mattthew Treviño. “The Tracks,” narrative film and paper. 2006.

Jennifer Scavone. “Illusion vs. Reality” (Spanish Literature) paper. 2005.

Multimedia Sponsor and Mentor:

My MES 3333 students from Fall 2019, Charlie Adams and the crew consisting of Sara Sánchez, Lauren Lazik, Laura Valdez (with actors Andrés Montalvo, Michael Boeta and Michael Paniagua) won 1st and 2nd Prizes in Digital Media, respectively, at the COLFA Research and Creative Conference. As sponsor of the first-place winner I received $100. 2020.

My MES 4333 student Myhra Zarate showed her film and created a poster concerning her artistic process. UTSA Research Showcase. 2019.

My MES 3333 students Olivia Comas Wood, Myhra Zarate, Matthew Gongora, Chres Larez, and Ben Espinoza showed their short subjects at the COLFA Research and Creative, in Digital Media. Wood, Zarate, Gongora and Larez received 1st, 3rd, and 4th place (a tie), respectively. Mar. 21, 2019.

15th Anniversary showing of MES 3333 and 4333 Postcards, Interviews, and Advanced Projects from 2017-2018 at the UTSA Showcase, Apr. 2018. 50 students represented.

My MES 3333 students Matthew Gongora (“A Word with an Artist”) and Hampton Rose (“Not Broken”) had their MES films chosen for showing at the first Mission Film Festival. Apr. 2018.

My MES 3333 students Matthew Gongora (“A Word with an Artist”) and Olivia Wood (“Date Night”) showed their films at the COLFA Research Conference and won 1st and 2nd Prize, respectively, in Digital Media. Mar. 22, 2018.

Commission from a San Antonio dance company. MES students Matthew Gongora, Myhra Zarate, and Hampton Rose filmed and edited the three-hour event at SAMA. 2018.

Commision from Victor Maldonado, Coe Mechanical Engineering, College of Engineering, UTSA, to create a 5-min. film introducing his Drone venture. Olivia Wood (lead), Tariq Tsaou, Matthew Gongora and John Ramirez made the film. 2018.

Micah Wright (a former, prize-winning MES student) and Graduate Research Assistant, U.S. Marine Corps, of the Veteran and Military Affairs Office at UTSA commissioned my MES 3333 student crew composed of Hampton Rose (veteran), Richard Martin (veteran), and Kristen Handy to film the Veterans’ Day event, Nov. 8, 2017. The 4-min. film, that includes multiple interviews with UTSA veterans, is running on the Veteran and Military Affairs website.

My MES 3333 and 4333 students showed their films at the UTSA Undergraduate Research and Creative Inquiry Showcase. Participants: Beginning: Alena Zemlyanaya, Austin Alonzo, James Ayala, Chyna Francis, Kollin Reynolds, Eric Azpeitia, Daniel Jaime, David Semmler, Myhra Zarate, Caitlin O’Brien, Nate Gaines, Ben Thory, Aaron Espinoza, Cameron Munroe, Roberto Vela III; Advanced: Nate Ralph, Alex Goodwin, Vanetta Coker, Antonio Fuentes, Abner Nava, Nick Gomez, 36

Jonathan Twitchell, Jesse Betancourt, and Chase Dahlquist. Apr. 20, 2017.

My MES students Nate Ralph (“Photograph”) and Alex Goodwin (“Hunter”) won first prize and third prize, respectively, in Digital Media at the COLFA Research Conference, Mar. 2017.

I trained Jordan Mkwanazi whose film “UTSA Black Lives Matter Cypher” won 2nd Prize in Digital Media at the COLFA Research Conference, 2016.

The College of Engineering commissioned an MES crew composed of Jahmilya “Mia” Mitchell and Aaron Martinez to create a recruiting film for its programs. Project completed and given to the College of Engineering’s Communications Coordinator, Deborah Sillimam Wolfe in the Dean’s Office, for the on-line web-site. S 2015.

9 undergrad entries (Kendall Casas, Jasquel Spell and Santana Montoya, Evelyn Head, Alexia Hall, Travis Fowler and Ashleigh Flores, Jordan Mkwanazi and Lindsay Westmoreland, Hristiana Buzbee, Bridget Morgan, Evan Traxler) in the COLFA Research Conference: Multimedia. I also trained Rafael Gutiérrez who competed with a video installation piece. 2nd Prize: Kendall Casas, “Information Man” and 3rd Prize: Travis Fowler and Ashleigh Flores: “The Last Woman on Earth.” 2015.

Of the 120 short films submitted by student filmmakers to the first UTSA film festival of films under 10 mins., E2F2, I had trained finalists in four categories: George Leos, Daniel Gonzalez (Prof. Ellen Clark's editor), David Lee Eubanks (now a San Antonio indie filmmaker, graduated), Anthony Bright (now graduated), Alexia Hall, Vicente Mares (now a grad student in film at U North Texas), Enrique Velazquez III (now a grad student at The University of London Film School), Evelyn Head (author of an Honor's doc on Black/Latino biracialism with me as advisor), Lindsay Westmoreland, Jordan Mkwanazi, and Spencer Jones, who was the E2F2 show’s producer (now at SMU). Daniel González, Lee Eubanks, Alexia Hall, and Anthony Bright were finalists in different categories. Alexia Hall won Best Documentary for her film on “Veganism.” Oct. 15, 2014.

The Be the Blessing Foundation commissioned an advanced MES crew to create a 3-4- min. film on behalf of a figherfighter suffering from leukemia. The crew, composed of Hristiana Buzbee, Jared Moore, Walter Moten II, and Aracely Rangel, interviewed the founder of the Foundation and firefighters, and filmed the rodeo (where the event was to take place). Their film was shown several times at the fundraising rodeo event and they were publicly recognized. F 2014. This was the first time an outside entity commissioned MES to produce a film.

My MES 3333 student Jorge Torres-Colón’s “Music Video” was an entry in the COLFA Research and Creative showcase: Multimedia. UTSA, 2014.

Angelina Nieto won 1st Place for “Losing Lillian” in the COLFA Research and Creative Showcase: Multimedia. UTSA. 2013. 37

Rebecca Gómez and Katherine Scherff's “UTSA Art Collection,” won First Place in the creative works category in the Graduate Student Project Competition. In the film, Gómez interviews UTSA President Ricardo Romo about the creation and purpose of the collection. 2010. Their second film, “Interview with Arturo Almeida,” won Third Place in the graduate multimedia category in the COLFA Research and Creative Showcase, UTSA. 2010.

Alissa Yike and Micah Wright won First Prize for their film on “Flamenco in San Antonio” at the COLFA Research and Creative Showcase: Multimedia. UTSA. 2010.

Mark Muniz won a first prize in documentary in the Colfa Research and Creative Showcase, as well. UTSA. 2010.

Presentation of my Art History MA students’ (Katharine Scherff and Rebecca Gómez) three outstanding videos in MES 3333 (“Tier 1” Postcard, “Interview with Arturo Almeida,” and “The UTSA Art Collection”) to Mr. Arturo Almeida, Dr. Richard Romo (UTSA president) and his staff. Their work was put up on the UTSA website. Dec. 2009.

Other:

Designated official “mentor” to Spanish majors Miriam Hernández and Oscar Ahumada. 1991-1993.

DMLL/DFL Committee Work et al.:

Since the inception of the MES program in 2003, I have accepted returning students in MES 3333 as “independent study” students. They are allowed to repeat the course for credit “when topics vary” though they only check in once and week and no longer need to attend class. This means they make new, longer films. To accommodate these students, I have often opened the enrollment to 24 (e.g. S 2017 had 6 such students who worked in their own crews; F 2018 had 8; F 2019, 9; S 2020, 6). 2003—.

Member. DFRAC. 1997—.

Member. The Graduate Studies Committee. 1991—.

DMLL Grad Council Rep. Substituted for M. Wallace Nov. 2019; Apr. 2019; all S 2018.

Manned the “Fall Into Your Major” table for DMLL. 10:15-12:30. 2 hrs. Oct. 2019.

Manned the DMLL Fair table 10 a.m.-12 p.m. Mar. 27, 2019.

Subbed for W. Chappell as DMLL representative to the Faculty Senate once. Feb. 2019. 38

Subbed for F. Marcos-Marín as DMLL representative to the Faculty Senate once. S 2018.

Manned the Graduate School Fair table for DMLL 5-7:30 p.m. Oct. 26, 2017.

Film Workshop for DMLL faculty. 3 hours. Apr. 22, 2017.

Peer Observation of Melissa Wallace. Written report. Follow-up meeting. 2015.

Written responses to F. Marcos-Marín’s visit to my SPN 3043 Advanced Reading class and his report and Dr. C. Wickham’s visit to my MES 3333 Beginning Digital Filmmaking class and his report. Follow-up meeting with each. 2015.

Elected Spanish rep to the DAPCC 1994-1996, 1998-1999; 2001-2002; Media Studies Rep to the DAPCC. 2008-2020.

Member. Translation Position Search Committee. Chair: F. Marcos-Marín. 2012.

Reviewed the literary and cultural levels of half dozen upper division course papers for the SACS review. 2009.

Member. Spanish Faculty Search Committee. 2008.

Introduced the Argentine film Nueve reinas for lower division Spanish classes. 2006.

Creation of the Digital Filmmaking Program with chair M. Nummikoski. 2002-2003.

DMLL Library liaison for Spanish literature and culture. UTSA. 1992-1993; 1994-1996; 2001-2002.

Master of Ceremonies for the Foreign Language Awards. UTSA. 2000-2001.

Conducted two Workshops on Teaching Lower Division Language with M. Nummikoski and S. Daydí-Tolson for DMLL lecturers. Feb. and Apr. 2000.

Evaluator of DMLL Lecturers with M. Nummikoski and Director S. Daydí-Tolson. Appointed by Daydí-Tolson. 1999.

Chair. The Undergraduate Studies Committee. Appointed by Daydí-Tolson. 1999-2000.

Chair. The Graduate Culture Subcommittee. 1998-1999.

Member. Undergraduate Scholarship Committee, including the Perese Scholarship Committee. Appointed chair in 2001. 1997-2001.

Chair. J. Himelblau’s Periodic Evaluation. 1998. 39

Class Scheduling. Spanish Upper Division and Graduate classes. DMLL. 1997-1998.

Member. DFL Technology Workgroup. UTSA. 1996-1997.

Secretary. Faculty Forum Meetings. DMLL. Published the Minutes. 1991-1995; 1998- 1999.

Member. DFAC (Division Faculty Advisory Committee). UTSA. 1993-1994; 1994-1995.

Advisor. Sigma Delta Pi. UTSA. 1994-1999.

Member. Latin American Culture and Literature Search. Chair: R. Milk (BBL). 1993- 1994.

Member. Medievalist/Golden age Search Committee. Affirmative action officer for the search. Chair: F. Almaraz. 1993-1994.

Hispanic-area coordinator for the American Literature Association Symposium on Women Writers. Organizer: Jeanne Reesman. I was responsible for recruiting speakers for the plenary session and a session on Mexican-American women writers. San Antonio. 1993.

Co-hosted the Sigma Delta Pi, National Spanish Honor Society, induction and recital. 1992.

Revised the Peninsular portion of the Spanish M.A. Reading List for the Curriculum Committee, Dept. of Spanish and Portuguese, San Diego State University, San Diego, CA. 1990-1991.

Member. The L(anguage) A(cquisition) R(esearch) C(enter) Advisory Committee, San Diego State University, San Diego, CA. 1990-1991.

Co-authored the Spanish Caucus' response to the External Review of the Language Studies Program, University of California, Santa Cruz, CA. 1984.

Filming for DMLL: Camera and Editor. DVD Archival Copies in the Language Lab.

Membrez, Nancy J. Filmed the “Miguel Delibes: Vida y obra” event presented by three members of the Miguel Delibes Foundation, including the novelist’s daughter. Oct. 2019. Material edited and DVDs produced in 2020.

_____. Filmed Malgorzata Oleskiewicz’s lecture in M. Wallace’s Intro to Grad Studies class. Sept. 2019.

_____. “Behind the Mask French Plays” shot by Isabelle Hall. Also made stills. 40 hours editing. 2019.

____. Filmed French and Italian Plays (Molly Zaldivar and Isabelle Hall) on Dec. 13, 2017. 4 hours (+ one-hour prep). 60 hours + Editing. Result: “Le Frère de l’anniversaire” (15 mins.), Scenes from “Servant of Two Masters” by Goldoni (18 mins.), “Amour Intemporel” (20 mins.), “Games” (10 mins.), “The Package” (20 mins.). Also 7 min. “Highlights” for the DMLL Awards Ceremony. Created over 100 stills. 2018.

_____. French and Italian Plays (Molly Zaldivar and Isabelle Hall) on Dec. 14, 2016. I also lent 20 costumes to the production. 4 hours (+ one-hour prep). Editing took 75 hours over four months. “Lost in Interpretation” (33 mins.), “The Accidental Death of Democracy” (20 mins.), “Masks” (15 mins.), and Dario Fo’s “The Good a Burglar Can Bring” (30 mins.). A 3-min. clip of “Masks” was shown at the DMLL Awards Ceremony. I also created 100 stills from the productions and made an 8-min. film of these stills via Powerpoint-into-film, with a musical soundtrack added. 2017.

_____. “Filología: Lic. María Guadalupe Coreño entrevista al Dr. Francisco Marcos- Marín.” 40 mins. Commissioned by the International Mentor Program/ Programa Internacional de Asesoramiento USA/Europe/Spain, a division of IMFAHE (International Mentoring Foundation for the Advancement of Higher Learning, Boston, MA). My role was director, camera 1, additional photography around campus; three stills from my photo collection (seen during the film), and 100 hours of editing, including the incorporation of Marcos-Marín’s personal photographs and creation of all titles and final credits. 2016.

_____. Dr. Howard Besser’s Keynote speech at the Memory in World Cinema 2 Conference. 2011.

_____. “¡Viva el español!", cultural event by and for students at UTSA. Host: Gilberta Turner. 26 mins. 2011.

_____. Arthur Miller's The Crucible with a UTSA student cast. Crew: Micah Wright. 2:30. DVD copy in the English Dept. too. 2010.

_____. Live-performance “A Driving Ambition: Katherine Anne Porter.” DVD copy in the English Dept. too. 2010.

_____. A Midsummer’s Night Dream. Crew: Alissa Yike. 1:40. DVD copy in the English Dept. too. 2009.

_____. “Homenaje a Juan Ramón Jiménez.” 48 mins. 2009.

_____. Dr. Josefa Dorta Luis (Universidad de la Laguna, Canarias), “De la fonética articulatoria a la acústica y sus aplicaciones.” 90 min. Introduction by F. Marcos 41

Marín. 2009.

_____. Dr. Marvin D’lugo (Clark University), “The Political Economy of Innocence: Children in World Cinema.” One-hour keynote speech of the Child in World Cinema Film Conference. UTSA. 2009.

_____. 3 one-hour plenary sessions of the European Film Conference. UTSA. 2008.

Dona Kercher. “Latin Hitchcock.” 60 mins.

Steven Kellman: “The Film Critic in American and European Film Criticism.” 60 mins.

Cathleen Rountree: “The Film Director as Shaman.” 60 mins.

_____. 5 plenary sessions of the Linguistics conference hosted by F. Marcos-Marín and M. García. DVDs. UTSA. 2007.

José Moreno de Alba. “Las Academias de la lengua” and “Consultas en línea.” 40 and 25 mins. respectively.

Amando de Miguel. “La sociedad española actual.” 53 mins.

Margarita Súñer. “La lingüística formal.” 37 mins.

Milton Azevedo. “Literary Linguistics.” 37 mins.

Rafael Salaberry. “Conceptualización del pasado en español como L2.” 46 mins.

_____. Paul Ilie’s guest lecture: “The Language of [Spanish Civil War] Exile.” 60 mins. 2006.

_____. Artist Marie-Laure Ilie’s lecture (30 mins.): “Draping and Beyond” and her exhibit (4 mins.) at the UTSA Art Gallery. 2006. I made a version in English and a version in French. DVD copy in the Art Dept. too. The 4-min. version in both languages is running on her website and my Vimeo channel.

_____. Artist Rolando Briseño’s lecture during the Food Representation in Literature, Film, and the Other Arts at SAMA. 2004. Produced two versions: 60 mins. and 3 mins. 2006.

_____. “Don Quixote Reading.” 9 mins. and 35 mins. 2005.

_____. “Episodio del Quijote.” The Governor’s Palace, San Antonio. 12 mins. 2005.

_____. “Pachanga.” 30 mins. 2005.

_____. “Homenaje a Gabriela Mistral.” 36 mins. 2005.

_____. M. Oleszkiewicz’s lecture “The Black Madonna.” 39 mins. 2005.

_____. “El retablo de las maravillas” by Miguel de Cervantes. Class dramatic reading. F. Marcos-Marín. 60 mins. 2005.

Service to the College of Liberal and Fine Arts:

Member. COLFA Faculty Grievance Committee. 2020-2022; 2018-2020; 2016-2018; 2012- 2014.

Judge. 3 graduate papers (written in Spanish) in competition at the COLFA Research Conference. 2019.

Chair. Dean Gelo appointed me chair of the Film Major Committee in Sept. 2016. Members: Mark McCoin, Art; Steve Kellman, English; James Calder, Political Science and Geography; Brian Davies, History; James Borrego, Senior Producer, Video Production Group, UTSA. On May 5, 2017, I delivered to Dean Gelo our 50-page proposal for the creation of a Film Production Department with a Film Production Major and control of the previously established Film Minor.

Member. Faculty committee to judge two student papers (written in Spanish) for the COLFA Research Conference. 2017.

Judge. 1 Spanish graduate paper for the COLFA Research Conference. 2016.

Member. COLFA Pool for Affirmative Action officer in faculty searches. 2013-2014.

Member. Appointed to the COLFA Research Committee that advised Dean Gelo. 2009-2011.

Member. COLFA Faculty Development Leave Committee. Appointed by Dean Gelo. Letter of thanks from the Dean. 2010.

Member. Appointed to the Distance Learning Committee by the Dean. Chair: S. Levitt. 1998-1999.

Member. Elected to the COFAH FAC. 1998. Elected chair. 1999.

Chair. The Graduate Scholarship Subcommittee. Appointed by Dean Craven. 1998-1999.

Member. COFAH scholarship committee. Chair: Dean Craven. 1997-1998.

Member. Computer Technology Committee. 1994-1998.

Chair. The COFAH APCC. 1996-1997.

Member. COFAH Reinstatement Committee. 1995-1996.

Service to the Honors College:

Judge. 7 student projects at the first UTSA Honors College Experiential Learning Fair. 2018.

Judge. 2 Honors College student projects (not my advisees). Presentation Day. 2015; 2014.

Advisor. Honors College graduation. Bestowing of UTSA stole on my honors thesis advisees Evelyn Head, film (2015); Rawan Arar, film (2008); Mattthew Treviño, film (2006); Jennifer Scavone, Spanish Literature (2005).

University Service

Member. University Faculty Grievance Committee. Sept. 2019-2020.

Sponsor. Rowdy Film Association (a recognized UTSA student organization). F 2018—.

Participant. I compiled two DVDs of MES 3333-4333 student projects (25 and 44 mins.) that ran at the UTSA Undergraduate Research and Creative Inquiry Showcase on a 60-inch screen. I attended to the projection from 10 a.m. to 2 p.m. DVDs in our lab collection. Copies sent to President Eighmy and Provost Espy. 2018.

Participant. I compiled the DVD of MES 3333-4333 student projects (50 mins. worth). The UTSA Undergraduate Research and Creative Inquiry Showcase on a 60-inch screen. I attended to the projection from 10 a.m. to 2 p.m. and answered the judges’ questions when student filmmakers were not available to answer. 2017.

Member. E2F2 Committee. Second Film Competition at UTSA held in S 2016. Chairs: Ernest Hernández (Head of UTSA Audio-Visual) and Marina “Red” Madden (Communication).

Participant. I gave out the award for “Best Vine Video” at UTSA’s first E2F2 Film Festival. 2014.

Member. E2F2 Committee. First Film Competition. UTSA Chairs: Ernest Hernández (Head of UTSA Audio-Visual) and Marina “Red” Madden (Communication). 2014.

Member. ExCet Committee. 2001-2002.

Member. UTSA Center on Women and Gender Faculty Advisory Board. Planning committee: Linda Pritchard, chair. 1992-1993; first center director: Linda Schott 1993- 44

2000.

Member. University Probation and Reinstatement Commmittee. 1998-2000.

Member. UTSA Women's History Week planning committee. WHW Chair: Linda Schott. Also, a member of the steering committee (1998). Participant in events. 1993-1999.

Participant. Faculty Retreat for UTSA “shakers and movers” at Guadalupe River Ranch. By invitation of the Office of the Provost. 1998.

Member. Advisory committee on Advising. Chair: Dean Henderson. 1996-1998.

Appointed member. The Core Curriculum Committee, UTSA. 1993-1995.

Marshal. UTSA graduation ceremonies. 1994.

Member. UTSA Child Care/Elder Care Task Force. Chair: Beverly Allen. 1992-1994.

Service to the Profession:

Camera and Editor. “Mesa redonda con los directores de cine Lucrecia Martel, Natalia Cabral y Almudena Carracedo.” Cine-Lit IX. 2019. Editing continuing in 2020. 75 min. DVD to be produced in late 2020 or 2021. Delay because of COVID 19.

Camera and Editor. “Mesa redonda con los directores de cine Juan Carlos Valdivia, Celina Murga, Mariana Chenillo, Carlos Marqués-Marcet, Javier Corcuera y Gabriela Martínez Escobar.” DVD. 58 mins. Cine-Lit VIII. 2015.

Editor. DVD for the organization Letra (Madrid). Buenos Aires, ciudad invitada. Events took place in Jul. 2009. Camera: Fernando Arturo Vílchez Rodríguez. Contact: Beltrán Gambier, Revista Intramuros (Madrid). 2010.

“Inauguración: tango.” 10 mins. “La noche del siglo de oro en la Discoteca Kapital.” 3 mins. “Encuentro Manuel Gutiérrez Aragón/Eliseo Subiela.” 8 mins. “Encuentro Juan José Campanella/David Trueba.” 18 mins. “Performance de Amparo para la vehemencia,' de Alba Soto.” 11 mins.

Camera. Musical drama Journey of the Silver Chord in Kerrville, TX in 2009 for Michael Madison using two cameras.

Camera and Editor. “Mesa redonda con Helena Taberna (autora-directora española), Andrés Martorell (guionista español), Eliseo Subiela (autor-director argentino), y Jorge Ruffinelli, Stanford University.” 60 mins. Cine-Lit V. 2003.

Outside reviewer of Dennis West for promotion to full professor at the University of Idaho. 2000.

Member. CSIC project “El teatro madrileño 1918-1936” administered by co-directors Dru Dougherty (University of California, Berkeley) and María Francisca Vilches de Frutos (Consejo Superior de Investigaciones Científicas, Madrid, Spain). 1990-1992.

Authored an unsolicited report identifying some 70 major errors in filing Spanish periodicals in MELVYL, the on-line union catalogue of the University of California library system. University of California, Santa Cruz, CA. 1988.

Reviewed for Publication:

Reviewed “Macario, un hito en la representación de día de Muertos en la industria cinematográfica mexicana” for publication in Kamchatka (Universidad de Valencia). Contact: Jaume Peris. Jan. 2020.

Member. The Editorial advisory board of Anales de la literatura española contemporánea (ALEC) (1992—). I reviewed the following articles for publication:

2010 (?) Matthew Marr. “Nietzschean Deliverance in Escuadra hacia la muerte.”

2009 Anton Pujol. “Map of Shadows: Lluïsa Cunillé’s Ontological Rezoning.” (resubmitted).

2008 Anton Pujol. “Map of Shadows: Lluïsa Cunillé’s Ontological Rezoning.”

2005 Marimar Huguet. “Destellos posmodernos.”

2005 Barbara Buedel. “Entrevista con y bibliografía selecta de Pedro Manuel Víllora.”

2003 Carmen Herrero. “El teatro radiofónico en España: Ondas (1925-1936).”

2003 Sofía Cardona. “Utopía e ironía: la retórica del desafío en el teatro de Francisco Nieva.”

2003 María Asunción Gómez. “Teatro, género e identidad en el cine español: Cómicos de Juan Antonio Bardem y Actrices de Ventura Pons”.

2002 Pilar Asensio. “El progreso material y la aniquilación de la delectación espiritual: un análisis de La prisa de los hermanos Alvarez Quintero.”

Revised Sebastião Albano’s paper “Literary and Historic Values in Juan Rulfo’s “The Man” for publication. 20 pp. 25 hours. 2017. 46

Edited and commented on several chapters of Keith Richards's manuscript in-progress Latin American through the Lens. A Guide to Teaching Latin American Culture, Language and Society through Film. 2009. Published by McFarland as Themes in Latin American Cinema in 2011.

Edited and commented on the manuscript Anthem. A Collection of Poems by P.C. McKinnon and J.A. Mac. San Antonio. 2009. I'm acknowledged on p. v.

Reviewed Mujer de letras/ Woman of Letters. Poetry by Gleyvis Coro Montanet. Trans. by Manuel Martínez for publication by Mellen Press. I also edited 70 pages of the 200-page manuscript. 2009.

Reviewed the article “Erice’s Songs: Nature as Music/Music as Nature” for publication in Secuencias. Revista de cine de la Universidad Autónoma de Madrid. Contact: Javier Estrada. 2009.

Reviewed (on two separate occasions) for publication Novela y cine de ciencia ficción española contemporánea: una reflexión sobre la humanidad en siete entrevistas by Cristina Sánchez-Conejero for the Mellen Press. I completely edited the manuscript twice in addition to reviewing it. 2008 and 2009.

Reviewed and ranked six film proposals for an IMCINE (Mexico) competition in Coahuila (budgets in the one-million-dollar range). Chair: film director Alfredo Galindo. 2008.

Reviewed for publication in the Revista Latinoamérica (UNAM) the essay “Modelos del mundo moderno: hacia “imágenes de consenso” en el cine de Latinoamérica” by Sebastião G. Albano. 2008.

Reviewed the essay “National Belonging in Juan José Campanella's Luna de Avellaneda” for publication in Nayibe Bermúdez’s book tentively titled Current Trends in Latin American Cinema. [email protected]. 2008.

Member. The Editorial Board of Cine-Lit VI, Cine-Lit V, Cine-Lit 2000, Cine-Lit III. Juried papers for publication. 2007, 2004, 2001, 1997.

Reviewed for publication in the Revista Latinoamérica (UNAM) “Las representaciones indígenas y la pugna por las imágenes. El cine y el video en el movimiento indígena de América Latina.” 2007.

Reviewed the grammar text Gramática básica del estudiante de español by Rosario Alonso-Raya (et al.) for Prentice-Hall. 2005.

Reviewed the prospectus, overview and a chapter of Culturas de España, an advanced- level Spanish Culture book for Houghton Mifflin. 2001. 47

“A Survey/Catalogue of the Teatro español collection (70 of 224 vols) at the Bancroft Library, University of California, Berkeley.” Gifted 150 pages (single-spaced hard- copy) of my research to the University of California after the Head of the Bancroft, Dr. Charles B. Faulhaber, announced that the Bancroft would be publishing (compiled by paid student labor) the very catalogue I was working on and hoping to publish. I sent the Bancroft four separate items in 1999:

A list of important crossreference sources to assist in the full cataloguing of the Collection.

A list of specific errors and additional information based on my crossreferencing of plays in 1989-1993.

A list of the works I catalogued in 1989-1993 with “invisible” notes made visible.

An authority list of authors and their dates.

My Hispanic Women’s Literature (in English Translation) syllabus was selected for inclusion in a book of Annotated Hispanic Women’s Literature Syllabi. Ed. Linda C. Fox, Indiana University-Purdue University of Fort Wayne. My text was 20 pp. long single-spaced. 1994. Sadly, the book was never published.

Reader/evaluator. The Computer Section of Hispania. Ed. Robert Quinn. 1990-1992.

DVD Distribution of “Film Grammar” and Other Shorts of Mine:

220 DVDs of my “Film Grammar” in English, Spanish, and French to the participants in their packets, with DMLL backing. Cine-Lit VIII, Portland, OR. 2015.

“Film Grammar” DVD to participants. Hispanic Film Session, SC-MLA, Austin. 2014.

150 DVDs of my “Gramática del cine”, with DMLL backing, to conference participants. Congreso ASAECA. Universidad Nacional de Rosario (Argentina). ASAECA conference on Argentine Cinema. 2014.

150 DVDs of my Cinema Museum interview and two versions of Film Grammar, one in Spanish and one in English, with DMLL backing, to conference participants. ASAECA conference on Argentine Cinema. Universidad Nacional de Córdoba (Argentina). 2012.

“Film Grammar.” Child in World Cinema; Memory in World Cinema I-II. I gave every Conference participant in French a DVD copy; I gave a DVD copy of every participant in Spanish: a DVD copy in Spanish; the English version to every other language participant. 2011; 2010; 2009.

200 participants received a copy of a DVD of the Cinema Museum interview with Spanish and English versions of my Film Grammar. Cine-Lit VII, Portland, OR. 2011.

Community Service

Six original audio files (“Nobody Knows”, “Bye Baby Bunting”, “Angels Watching Over Me”, “There Were Three Jolly Fishermen”, “My Bonnie Lies Over the Ocean”, “Flow Gently, Sweet Afton”) I sang, recorded, and edited, plus providing all the lyrics in English (with my translations to Spanish) to www.mamalisa.com, the largest website of children’s music from around the world. 2015.

Fifteen original audio files I sang, recorded, and edited (“A dormir va la rosa”, “El baile de Avila”, “No hay quien pueda”, “El café de Chinitas”, “El testament d’Amelia”, “Toada Beirã”, “The Prettiest Girl”, “White Coral Bells”, “Just a Boy and a Girl”, “Punky Pumpkin”, “Erie Canal”, “My Hand on My Head”, “Pat Works on the Railway”, “I Gotta Sing”, “Good News”) and two videos (“Just a Boy and a Girl” and “My Hand on My Head”), plus all the lyrics in English, Spanish, Catalan, and Portuguese (with my translations) to www.mamalisa.com, the largest website of children’s music from around the world. 2014.

Q and A for the Buñuel film Nazarín. Organizer: Dr. Juan Carlos Moreno, St. Mary’s University and Incarnate Word. Sponsors: Casa de España, Casa Argentina, Amigos de Colombia, Amigos de Chile, etc. UTSA Downtown. Sept. 27, 2013.

As part of the Forrest Fest poet entourage, I visited three senior living facilities in Lamesa, TX and read my poems to the residents. 2012.

Sponsor and Judge. The “Point at the Moon Poetry Contest” required poems addressing Science and Technology, including the Internet, email, cell phones, texting, movies, outer space, etc. I awarded an Adult First Prize, an Adult Second Prize; High School First, Second, and Third Prizes, and Honorable Mentions; Elementary First, Second, and Third Prizes and Honorable Mentions. I wrote each non-winner a critique for improvement. The San Antonio Poetry Fair. 2011.

Judge. One of twelve judges for the San Antonio Film Festival. I reviewed some 250 shorts and features. Contact: Adam Rocha. 2010.

Liaison/board member for the 8th-14th San Antonio Poetry Fair. Every Oct. 2005-2012. Welcomer/First speaker at the event. Also produced an edited DVD of the event every year. I brought the Fair to UTSA in 2005.

(Invited) member San Antonio Museum of Art (SAMA) Film Committee. San Antonio, TX. 2009-2010.

Interpreter. The International Kiwanis Meeting. San Antonio. Jul. 4-7, 2007. 49

Judge. I was one of five judges for the First Film Fest of the Independent Film Makers Association of San Antonio at the Alamo Drafthouse Cinema (San Antonio). Feb. 19, 2006.

“Digital Filmmaking.” An afternoon of instruction and recording with 20 Girl Scouts at the UTSA Digital Lab. I made a personalized DVD for each participant. Nov. 6, 2004.

“Digital Filmmaking.” Demonstration and screening for the Girl Scouts of America Extravaganza, Helotes, TX. Mar. 27, 2004.

Invited speaker. Topic: “Poesía.” Spanish Honor Society Induction Ceremony, Brackenridge High School, San Antonio, TX. 2001.

Spoke to Spanish classes at Brackenridge HS, San Antonio for recruitment purposes. 1999.

Conducted tour of the Distance learning facility on campus for a local boy scout troop. 1997.

Invited to two of Raúl Serrano’s classes for Career Day at McAuliffe Middle School, San Antonio. 1996.

YMCA soccer co-team “mom” for the Raptors (1994); Blazers (1993).

Attended a Galician literature class and taught an English class at the the Instituto Rosalía de Castro in Santiago de Compostela, Spain. 1993.

“Country Store” participant, all UTSA Fall Picnic. Sold my handicrafts. 1992.

Volunteered in the Campus Children's Center, San Diego State University, San Diego, CA. 1989-90.

Membership in Professional Organizations: Discontinuously, but sincerely.

ASAECA (Asociación Argentina de Estudios de Cine y Audiovisual). 2012; 2014; 2016; 2019; 2020.

LASA. 2007-2008; 2010-2011.

ACTFL. 2006-2007.

South Central Modern Language Association. 1988, 2000; 2002; 2008; 2012-2020.

Modern Language Association. 1978-1997; 2015.

American Association of Teachers of Spanish and Portuguese. 1972-1997. 50

Feministas Unidas (Allied Organization - MLA). 1978-1997.

Additional Education:

One day all day Seminar/Hands-on Workshop on 3D digital filmmaking led by professional cinematographer Julian Chojnacki and Panasonic product representative Jan C. Livingston at the Student Filmmakers Studio, New York City. Mar. 2011.

WebCt training (UTSA). Sum 2002.

Digital video classes at Northwest Vista (Junior) College, San Antonio. Training in video production and non-linear editing. 2001-2002.

“Ninja Turtles, the Macho King, and Madonna’s Navel: Taking Popular Culture Seriously.” Professional seminar at Massachusetts Institute of Technology, Cambridge, MA. Summer 1994. ($2000 grant from the Office of the Provost, UTSA).

Three-weeks intensive study of Basque Language, University of Nevada, Reno in San Sebastián, Spain (scholarship and work study) (not enrolled for credit). Sum 1990.

Portuguese Semester, Universidade de Coimbra, Coimbra, Portugal (Not enrolled for credit). Sum 1978.

Related Special Talents:

Filmmaking, photography, computer graphics; painting; other languages for research purposes: Portuguese, French, German, some Latin, a bit of Basque.

Press Coverage:

Leedor.com. “3er Concurso Domingo Di Nubila de ensayo sobre cine: los ganadores.” (12 noviembre 2014). http://leedor.com/2014/11/12/concurso-domingo-di-nubila-de-ensayo- sobre-cine-los-ganadores/. El jurado: la Lic. Natacha Mell, el Lic. Gustavo Aprea y el Mgter. Pedro Klimovsky. “El artículo realiza una comparación entre el film de Eliseo Subiela y la novela “K- pax” cuyos derechos fueron vendidos a Hollywood [sic: NO fueron vendidos]. A través de una investigación minuciosa y original demuestra que se trata de un plagio, más allá de no haberse podido demostrar en los tribunales. En este sentido el texto da cuenta de las formas y los detalles de un proceso de apropiación indebida del trabajo y la creatividad dentro del ámbito cinematográfico. Con vistas a la publicación el trabajo debe ampliar la cuestión del plagio desde un punto de vista teórico y regularizar la escritura que fluctúa entre la tercera persona en los momentos 51

descriptivos y la asunción de la primera persona en algunas acotaciones. Resulta pertinente mantener la tercera persona a lo largo de todo el texto.”

Interview concerning MES 3333 (digital filmmaking) by Anthony Mendoza for “Most Unusual Courses at UTSA.” The Paisano (UTSA student newspaper). Sept. 24, 2013.

Interview. Concerning my collection of English stained-glass windows. Ruth Caven. “How to Spend It: Victorian Stained Glass.” The London Financial Times. Nov. 17, 2013. http://howtospendit.ft.com/art/40693-victorian-stained-glass.

Interview. MES 3333 student crew Stephen Herrera, Luis Soria, and Vida Uchukwu for the 10th Anniversary of the MES 3333 Digital Filmmaking program in DMLL. 2013. 4 mins. DVD. This was the first time I permitted a crew to interview me.

Interview. Prof. William Benner for his on-line magazine “El encuentro” sponsored by the University of South Carolina. He requested I respond in English to his questions asked in Spanish. fllc.cas.sc.edu/wpmu/elencuentro. Sept. 2010.

Prof. Kate Regan, Professor of Spanish at the University of Portland, Portland OR, received a small grant to come from UP to visit my Media Studies program. Apr. 2010. Sadly, she died two years later before she could get her Media Studies program started there.

Tim Brownlee. “Rebecca Gomez receives two awards for videos on UTSA Art Collection.” UTSA Today (Apr. 23, 2010). I am mentioned prominently since I taught her digital filmmaking in Media Studies 3333. http://www.utsa.edu/today/2010/04/ rebeccagomez.html.

Steven G. Kellman. “Faculty Metamorphosis.” My profile is included. Ovations. An Annual Publication of the UTSA College of Liberal and Fine Arts (2009) 4-5.

“Texas Filmmaker Visits [Thanet College, Kent England]!” on Home Page (2008). http://www.thanet.ac.uk/basiccolumnpage.asp?pageid=25929

Kate Carden. “Portrait in Sepia Tone: First Film.” Wooster Alumni Magazine (Spring 2006): 53.

Exhibition. The John Peace Library included my Portrait in Sepia Tone script and some of my photographs in an exhibit of UTSA professors’ activities. Curated by Dennis Medina, Special Collections. F 2005.

Rebecca Luther, “Nancy Membrez’s Life Looks Different in Sepia Tone.” An article on the production of my digital film Portrait in Sepia Tone in the UTSA downtown studio. Three of my black and white still photographs were included. UTSA Today on-line. Aug. 2005.

______. “A New Focus: Spanish Professor Nancy Membrez Puts Students Behind the Camera” Sombrilla Magazine (Fall 2003): 16-17. Print and on-line.

Cited Research:

Citing my Barberos article in Teatro lírico español (2016).

Ignacio Jassa Haro. “Reseña de/Review of Teatro lírico español: ópera, drama lírico y zarzuela grande entre 1868 y 1925. Eds. María Pilar Espín Templado, Pilar de Vega Martínez y Manuel Lagos Gismero”. Epos 33 (2017): 368-370. My chapter on the barberos mentioned on 370.

Citing my three featurettes (interviews) and the liner notes for Subiela’s Man Facing Southeast DVD (2016).

Michael Barrett. “Reviews: Intelligent '80s Sci-fi Films, Man Facing Southeast and The Quiet Earth, Question Life on Earth.” Popmatters (19 Dec 2016). https://www.popmatters.com/man-facing-southeast-the-quiet-earth-intelligent-80s-sci-fi- 2495406640.html. “The film became a surprise hit in Subiela's homeland after success abroad, and it fits his general output of “suspicious realism,” as he calls it in his excellent interview. This must be another reason it seems as timely as ever. He also credits Jean Cocteau as a significant influence. Soto is heard in a 1993 interview shortly before his death from AIDS, a fact lending more retrospective melancholy to its image of a man alienated from society and its definitions of madness and malady. […] The bonus interviews with Subiela, Soto and De Angelis are very informative and not just gushing about how wonderful everyone was. There's also a booklet essay by Nancy J. Membrez, who has written about Subiela's entire career from his acclaimed TV commercials to his features. Southeast is by far the most famous, but it seems like more of them deserve to be released on Blu-ray to our modern suspicious sensibilities.” Popmatters. An International Magazine of Cultural Criticism and Analysis. Chicago, IL.

Citing “Cincuenta años de locura (2013)” on the ASAECA (Asociación Argentina de Estudios de Cine y Audiovisual) website and forthcoming in English in The Persistence of Vision.

Keith John Richards, “An Archaic Supermodernity? Pre-modern Non-place in Eliseo Subiela’s Vision of the River Plate City.” Eliseo Subiela: The Poet of Latin American Cinema. Ed. N.J. Membrez. Lewiston, NY: Mellen Press, 2014. 7-31. He cites the article in Endnote 5 (p. 411).

Hans J. Wulff, Ludger Kaczmarek, and Franz Obermeier (comps.), “Fernando Birri. Eine Bibliographie.” Medienwissenschaft: Berichte und Papiere, 156, 2014: Fernando Birri. On 15, they list my article. http://berichte.derwulff.de/0156_14.pdf.

Citing “Um paladim cinematográfico para América Latina” (2010): Sonia Regina Soares da Cunha. “Visões midiáticas e identidade comunicacional na América Latina. Resenha do livro: Sociedade, Teorias da Mídia e Audiovisual na América Latina. COSTA, Sebastião Albano C., LIMA, M. Érica (Orgs.). Jaboticabal, SP: FUNEP, 2010. 220 p. Revista Brasileira de Ensino de Jornalismo. Ponta Grossa, 1.8 (jan. a jun. 2011): 11-17. 53

“Quem assina o capítulo sete é Nancy Membrez. A pesquisadora nasceu nos Estados Unidos, mas seu conhecimento sobre América Latina lhe permitiu escrever o artigo em português, bem como discorrer com segurança sobre a carreira do cineasta argentino, Eliseo Subiela, a quem ela chama de “Quixote moderno, louco inveterado, excêntrico e artista” (184)” (16).

Citing “El ángel exterminador de Luis Buñuel: auto sacramental cinematográfico.” Corregido y aumentado. Número dedicado a Luis Buñuel. Significação Revista [brasileira] de cultura audiovisual 29 (outono-inverno de 2008): 27-43.

Lopes da Silva, Jairo. Tiempo y narración en El ángel exterminador. Diss. Universidad Complutense de Madrid, 2016. He mentions my article on 63.

Citing “From Professor to Filmmaker” (2008):

Kathleen Vernon, “Review of the Cine-Lit VI Essays on Hispanic Film and Fiction. Eds. Jaume Martí Olivella and Guy H. Wood. 2008.” Arizona Journal of Hispanic Cultural Studies 12 (2009): 283-285. My article is reviewed prominently and favorably in the first and last paragraphs.

“Review of the Cine-Lit VI Essays on Hispanic Film and Fiction. Eds. Jaume Martí Olivella and Guy H. Wood. 2008.” Letras Peninsulares (Fall/Winter 2008-2009): 576-578. My article is reviewed prominently and favorably.

Citing “Short and Sweet: Notes on Eliseo Subiela’s Short Films (2007):”

Nancy Bird-Soto, “A Driving Agent: The Spectator in Subiela’s ‘El camión’ [The Van].” Eliseo Subiela: The Poet of Latin American Cinema. Ed. N.J. Membrez. Lewiston, NY: Mellen Press, 2014. 225-236. She cites my article on 231 and Endnote 80.

Citing “Man on the Verge on the Verge of a Nervous Breakdown: The Evolution of Heartlift” (2007) 335-346.

Carolina Rocha. “Lazos trasatlánticos: el cine coproducido entre Argentina y España (1997– 2005).” Revista Canadiense de Estudios Hispánicos (2012): 29-47. She cites my article.

Citing Interview (Rountree with Membrez) with Subiela (2007): Fernando Valerio-Holguín, “Children in Subiela’s films.” Eliseo Subiela: The Poet of Latin American Cinema. Ed. N.J. Membrez. Lewiston, NY: Mellen Press, 2014. 33-44. He cites this interview on 34, 35, 40.

Priscilla Hunter, “The Hyperreal and Eliseo Subiela’s Search for the Present and Suprarealism in Wake Up Love (1996).” Eliseo Subiela: The Poet of Latin American Cinema. Ed. N.J. Membrez. Lewiston, NY: Mellen Press, 2014. 119-192. She cites the interview on 119, 126, 128, 130, 131, 133, 135, 151, 185.

Juan G. Ramos, “No es un fantasma; es un espíritu:” Visual Technology and Spectropoetics in 54

Eliseo Subiela’s No te mueras sin decirme adónde vas.” Letras Hispanas 10.1 (Spring 2014): 64-78. He cites the interview on 75 and Works Cited 78.

Juan G. Ramos. “Eliseo Subiela's El lado oscuro del corazón as a metapoetic text.” Verse, Voice, and Vision: Poetry and the Cinema. Ed. Marlisa Santos. Metuchen, NJ: Scarecrow Press, 2013. He cites the interview in Footnote 3 and 24.

Citing The Cinematic Art of Eliseo Subiela, Argentine Filmmaker (2007).

Jonathan Rhodes Lee, Film Music in the Sound Era: A Resaearh and Information Guide. New York: Routledge, 2020. On 172, he cites Thomas Deveny’s article on music in Subiela’s films published in my book.

Fernando Reati, “Vuelven los muertos: Formas de lo espectral en la Argentina de la posdictadura”. Decir desaparecido(s): Formas e ideologías de la narración de la ausencia. Ed. Albrecht Buschmann. Münster: LIT Verlag, 2019. On 126 Reati cites his own article published in The Cinematic Art.

Juan Ignacio Muñoz Zapata. “Oniroscopios: metadispositivos cinematográficos y posiciones espectadoriales en No te mueras sin decirme adónde vas y La sonámbula”. Alambique: Revista académica de ciencia ficción y fantasia / Jornal acadêmico de ficção científica e fantasía 1.1 (2013). No Pagination. Specifically cites Keith Richards’s article on No te mueras in the book I edited. I’m mentioned as editor in the Works Cited.

Citing “El peón y la Muerte: el caso trasnacional de Macario.” Revista Latinoamérica (UNAM) 44.1 (2007): 27-58.

Guadalupe Salinas Fernández, Desolación, miseria a muerte en vida: Representaciones de la muerte en la literatura y el cine mexicano del siglo XX: El luto humano, Pedro Páramo y Macario. Diss. The University of North Carolina at Greensboro, 2017. She quotes my article on 44-45; Obras citadas 58.

Margarita Salazar Mendoza. “El bosque como liberación para Macario”. Los sentidos de la muerte. Discursos y tradiciones. Eds. Efraín Rangel Guzmán and Rutilio García Pereyra. Ciudad Juárez: Universidad Autónoma de Ciudad Juárez, 2015. On 166-167, Salazar Mendoza writes “Macario representa, Traven así lo quiso, un personaje popular mexicano: el indio y pobre. Traven ha caracterizado a Macario como un leñador, quizá tratando de relacionarlo como “hombre/árbol, flor de un día, quizá para subrayar la vida efímera del hombre”, según Nancy J. Membrez” (p. 5). Also in her Bibliography (167).

Citing “Mesa Redonda (2004):”

Geoffrey Kantaris, “The Desire for Literature: Proxy Auteurs in Last Images of the Shipwreck and Dark Side of the Heart.” The Cinematic Art of Eliseo Subiela, Argentine Filmmaker.” Ed. N.J. Membrez. Lewiston, NY: Mellen Press, 2007. 151-167. He cites my interview.

Citing “Review of Teatro histórico: Textos y representaciones. Ed. José Romera Castillo (1998).” ALEC (2000).

José Romera Castillo, Pautas para la investigación del teatro español y sus puestas en escena. Madrid: Editorial UNED, 2012. He cites my review in footnotes 7 and 36 (pp. 16, 32), and 51.

Citing “La cenicienta posmoderna (2001):”

Thomas Deveny, “Music in the Films of Eliseo Subiela.” The Cinematic Art of Eliseo Subiela, Argentine Filmmaker. Ed. N.J. Membrez. Lewiston, NY: Mellen Press, 2007. 19-58. On 55 and Endnote 17, he cites my article.

Citing my interview with Subiela (2001):

Jill Gibian, “Memory, Translation, and Rebirth in the Films of Eliseo Subiela.” Eliseo Subiela: The Poet of Latin American Cinema. Ed. N.J. Membrez. Lewiston, NY: Mellen Press, 2014. 107-118. She cites the interview in Endnote 32.

Thomas Deveny, “Music in the Films of Eliseo Subiela 2000-2013.” Eliseo Subiela: The Poet of Latin American Cinema. Ed. N.J. Membrez. Lewiston, NY: Mellen Press, 2014. 305-343. He cites the interview in Endnote 112.

Fernando Valerio-Holguín, “Retórica de la imagen, la música y el texto en Últimas imágenes del naufragio de Eliseo Subiela”. Oct. 15, 2013. Academia.org. Cites interview on 23 (Works Cited).

Fernando Valerio Holguín, “The Rhetoric of Image and Music in Last Images of the Shipwreck.” The Cinematic Art of Eliseo Subiela, Argentine Filmmaker.” Ed. N.J. Membrez. Lewiston, NY: Mellen Press, 2007. 139-149. On 39, he cites the interview.

Fernando Valerio-Holguín. Banalidad posmoderna: ensayos sobre identidad cultural latinoamericana. Universidad Autónoma de Santo Domingo: Editora Universitaria, 2006. In the Bibliography.

Citing “Apostillas a El espíritu de la colmena, de Víctor Erice (1998):”

Erin Kimberly Hogan, “La patria es la infancia: The Vocalization and Ventriloquism of Spanish Civil War and Postwar Children in the Cine con niño and Nuevo cine con niño (1973-2010).” Diss. U of North Texas, 2012. She cites my article.

Isabel Arquero Blanco, “Estudio descriptivo de El espíritu de la colmena (Víctor Erice, 1973),” Diss. Universidad Complutense de Madrid, 2012. She cites my article in the “Bibliografía” 627.

Yvonne Gavela Ramos, “El acto colectivo de recordar: Historia y fantasía en El espíritu de la colmena y El labertino del fauno” Bulletin of Hispanic Studies 88.2 (Jan. 2011): 179-196. “Para un detallado análisis de los símbolos y connotaciones de El espíritu se puede consultar Membrez (1998).”

Linda C. Ehrlich and Celia Martínez García, “Las canciones de Erice: la naturaleza como música/la música como naturaleza.” Secuencias: Revista de historia del cine 31 (2010): 7-31. 199-247. They cite my article in Footnote 10 and in the Bibliografía 24.

Linda C. Ehrlich and Celia Martínez García, “Erice's Songs: Nature as Music/Music as Nature.” Framework: The Journal of Cinema and Media 51.2 (2010): 199-247. They cite my article in Footnote 10? and in the Bibliography.

Jorge Latorre Izquierdo, Tres décadas de El espíritu de la colmena (Víctor Erice). Madrid: Ediciones Internacionales EIUNSA, 2006. He cites my article in the “Bibliografía” 375.

Linda C. Ehrlich, The Cinema of Víctor Erice: An Open Window. Scarecrow Press, 2000. She cites my article in the “Selected Bibliography” 284.

Citing “The Roots of Raíces (1996):”

Barry Jordan, “Review of Cine-Lit II: Essays on Hispanic Film and Fiction. Eds. George Cabello-Castellet, Jaume Martí-Olivella, and Guy H. Wood.” The Modern Language Review, 93.2 (Apr. 1998): 552. “Of particular interest... [is] Nancy Membrez's remarkably painstaking formal analysis of Alazraki's Raíces...”.

Citing my review of The Nine Guardians (1995): Kenneth Wishnia, “Review of Contemporary Short Stories from Central America. Eds. Enrique Jaramillo and Leland H. Chambers. Austin: UT Press, 1994.” Translation Review 51-52.1 (1996): 49-50. “Because it is simpler to reprint an outdated translation than to struggle with the complexities of a new one (see Nancy Membrez’s review of The Nine Guardians, Translation Review 47) anthologies have often been especially guilty of perpetuating bad translations. Happily, this is not the case here” (49).

Citing “La reinvención de Madrid (1994):”

Elena Palacios Gutiérrez. “El teatro cómico de Enrique García Álvarez”. Tesis doctoral. Universidad Complutense de Madrid (2016). Advisor: Javier Huerta Calvo. “Ahora bien, ¿qué debemos entender por tipos?; ¿en qué divergen de los personajes? Básicamente, en su grado de caracterización. Membrez, tras analizar algunas definiciones acerca este concepto como la recogida en el Diccionario de María Moliner, que incidía en la existencia previa de un ejemplar de una serie con unas cualidades puras y en su más alto grado, o la incluida en el 57

DRAE, que cargaba las tintas sobre su condición modélica y significativa, manifestaba cierta disconformidad con ambas. Para ella, estos acercamientos son insuficientes al insertar el concepto dentro del costumbrismo, ya que el tipo no es algo tan superficial como muchos piensan [1994: 76].” (p. 306). “Al respecto, Membrez ahondaba en la idea de que, pese a los bocetos previos, la auténtica “tipomanía” o “manía popular de la descripción pormenorizada y ligera de los tipos sociales” surgió con el costumbrismo decimonónico [1994: 75].” (p. 307). “Solo la taquilla consiguió abrirles los ojos cuando los espectadores comenzaron a decantarse por otros divertimentos [Membrez, 1994: 88].” (p. 308).

Rakhel Villamil-Acera, “La construcción del diálogo teatral en el teatro cómico español, (1898- 1936.” Diss. University of California-Berkeley, 2008. 319 pp. On 74-75 she cites my article.

Víctor Manuel Peláez Pérez, La época dorada de la parodia teatral española (1837-1918). Diss. Universidad de Alicante, 2007. Cites my article on 24.

Deborah L. Parsons, A Cultural History of Madrid: Modernism and the Urban Spectacle. Bloomsbury Publishing, 2003. “‘One of the most distinctive characteristics of the género chico', describes Nancy Membrez, 'is the symbiosis of the street and the theatre, an association of culture, music and language' [Una de las características más sobresalientes del género chico es la simbiosis de la calle y el teatro, una relación cultural, musical y lingüística]” (70). [Her footnote 29 attached to this sentence establishes she is quoting “Reinvención”]. A long paragraph on p. 73 copies several of my quotes concerning Arniches and López Silva that are documented in Footnotes 36-37 referring to p. 86 of “Reinvención.”

Alfonso Sastre, Ensayo general sobre lo cómico: (en el teatro y en la vida). Editorial Hiru, 2002. He cites my article on 374, 375, 377.

Lola Vargas-Zúñiga et al., Catálogo de autores dramáticos andaluces. v. 2. Junta de Andalucía, Consejería de Cultura, Centro de Documentación de las Artes Escénicas de Andalucía, 2002. Cites my article in the Bibliografía 1004.

Margot Versteeg, De Fusiladores y Morcilleros. El discurso cómico del género chico (1870- 1910). Amsterdam/Atlanta: Editions Rodopi, 2000. She cites my article in the “Bibliografía” 442.

Citing “Delirium tremens” (1994):

María Teresa García-Abad, Intermedios: estudios sobre literatura, teatro y cine. Vol. 149. Madrid: Editorial Fundamentos, 2005. The “Bibliografía” 346 cites my article.

María Asunción Gómez, Del escenario a la pantalla: la adaptación cinematográfica del teatro español. University of North Carolina Press, 2000. Cited on 26 and listed in the Bibliografía 222.

Luis Miguel Fernández, “Pardo Bazán y el cinematógrafo de los primeros tiempos.” Estudios sobre Emilia Pardo Bazán: in memoriam Maurice Hemingway. Ed. José Manuel González 58

Herrán. Santiago de Compostela: Universidade de Santiago de Compostela, 1997. 97-112. He cites my article on 98-99 and in the “Referencias bibliográficas” 111.

María Teresa García-Abad, “Dos estéticas en contacto: lo cinético y lo dramático.” Revista de Literatura 59.118 (1 julio 1997): 465-481. She cites my article in Footnote 8: “Con el sugestivo título de ‘Delirium tremens: se encaran el teatro y el cinematógrafo 1896-1946’, Letras Peninsulares (1994), 165-184, rotula Nancy Membrez un artículo en el que se analiza la impresión que el invento de Lumiere provocó en los primeros espectadores.”

Citing “The Bureaucratization of the Madrid Theater: Government Censorship, Curfews and Taxation (1992):”

David T Gies. “Spain.” The Frightful Stage: Political Censorship of the Theater in Nineteenth- Century Europe. Ed. Robert Justin Goldstein. Berghahn Books, 2013. Footnote 49 (p. 189) cites my article.

Luis Díaz Simón, El interior de Madrid hacia 1900: El viejo espacio urbano ante la irrupción de la Modernidad. Saarbrücken, Germany: Editorial Académica Española, 2012. He cites my article in his Bibliography (147). His book is his MA Thesis at the Universidad Complutense de Madrid, 2010.

Emeterio Diez, “La censura teatral en Madrid durante la Segunda República (1931-1936.” Anales de la Literatura Española Contemporánea 32.2 (2007): 83-106 [423-446]. In Footnote 36 and the “Obras citadas” (106) he cites “my article.

Margot Versteeg, De Fusiladores y Morcilleros. El discurso cómico del género chico (1870- 1910). Amsterdam/Atlanta: Editions Rodopi, 2000. She cites my article.

Stephanie Susanne Throne, Tainted genders: discourses of power and parenthood in Spanish drama (1908-1936). University of Michigan, 1998. She cites my article on p. 30: “Nancy Membrez also recognizes the effect of government regulation on the success of the theater: ‘from Restoration to Dictatorship the Spanish government bureaucracy intervened in the theater by censoring or prohibiting plays; by manipulating the theater industry and theater patron behavior with a series of curfews on theaters, taverns and cafes; and by taxing the real estate, salaries, tickets and royalties of the theater industry- in effect, killing the goose that laid the golden eggs.’”

John London, Reception and Renewal in Modern Spanish Theatre, 1939-1963. Cambridge, UK: MHRA (Modern Humanities Research Association), 1997. Cites my article in footnote 80 (p. 31); Bibliography (253).

Shields, Graham J. Madrid. Santa Barbara: Clío Press, 1996. First English bibliography on the literature of Madrid. Cites my article on 164 and 213 (index).

Citing “Su majestad la opereta (1992):” Ignacio Jassa Haro, “Con un vals en la maleta: viaje y aclimatación de la opereta europea en 59

España” Cuadernos de Música Iberoamericana (Madrid) 20 (julio-diciembre de 2010): 69- 128. Footnote 74 (p. 87): “Se ha llegado a plantear que la opereta de la era de plata vienesa llegó a España en el momento en que la burguesía pasaba a hacerse árbitro de la escena lírica popular. Esta circunstancia quedaría patente en el relevo en el protagonismo del género chico por nuevas formas de teatro musical que, como la opereta, se emplearían como sostén de esa ideología conservadora. Las obras vienesas serían despojadas para ello de sus inherentes componentes satírico y crítico para con la nobleza y las clases superiores, pasando así a tener en nuestro país un carácter meramente evasivo y autocomplaciente. Véase Nancy J. Membrez, “Su majestad la opereta vienesa y la zarzuela grande”, El teatro en España entre la tradición y la vanguardia (1918-1939), Dru Dougherty y María Francisca Vilches de Frutos (coords. y eds.), Madrid, CSIC/Fundación Federico García Lorca/Tabapress, 1992, pp. 295-304.” Footnote 97 (p. 99): “Antonio Asenjo: “Crónica: hay que trabajar”, Comedias y Comediantes, núm. 27, I-1911. Citado por N. J. Membrez: “Su majestad la opereta”..., 297. Footnote 102 (p. 100): “José Juan Cadenas: “La vida del teatro”, Blanco y Negro, 13-VIII- 1916, pp. 29-30. Citado por N. J. Membrez: “Su majestad la opereta”..., p. 297.”

Rute Miguel. “Zarzuela.” E-dicionário de termos literários de Carlos Ceia. Dez 23, 2009. http://edtl.fcsh.unl.pt/encyclopedia/zarzuela/. Bibliografia: my article.

Clinton D. Young, “Zarzuela; or Lyric Theatre as Consumer Nationalism in Spain.” Diss. in History, University of California-San Diego, 2006. The Works Consulted 412 includes my article

Margot Versteeg, De Fusiladores y Morcilleros. El discurso cómico del género chico (1870- 1910). Amsterdam/Atlanta: Editions Rodopi, 2000. She cites my article in the “Bibliografía” 442.

Serge Salaün, "Review of El teatro en España entre la tradición y la vanguardia (1918-1939), coordinación y edición de Dru Dougherty y María Francisca Vilches de Frutos." Bulletin Hispanique 97.2 (1995): 685-689. “Quant au théâtre lyrique, dont Dougherty et Vilches nous ont montré le poids écrasant dans l'Espagne contemporaine, il est représenté ici par deux articles bien documentés, l'un sur l'opéra (Elena Santo Delefeu) et l'autre sur l'opérette et la zarzuela grande (Nancy Membrez)…” (688).

Virtudes Serrano, “Review of El teatro en España entre la tradición y la vanguardia (1918– 1939). Ed. Dru Dougherty, María Francisca Vilches de Frutos.” Romanische Forschungen 106. Bd., H. 1/4 (1994), 417-421.

James Crapotta. “Review of El teatro en España entre la tradición y la vanguardia (1918-1939) by Dru Dougherty, María Francisca Vilches de Frutos.” Revista Hispánica Moderna 47.2 (diciembre de 1994): 572-575. “Nancy J. Membrez's account of the influence of Viennese operetta on the zarzuela greatly enriches our view of the escapist nature of middle-class entertainment during this period.” (574)

Marion P. Holt. “Review of El teatro en España entre la tradición y la vanguardia (1918-1939) by Dru Dougherty, María Francisca Vilches de Frutos.” Hispania 77 (Dec. 1994): 809-810. 60

“One of the most delightful contributions is Nancy Membrez’s exploration into the popularity of Viennese operetta, the resulting parodies, and the developing zarzuela counterpart, which both the specialist as well as the general reader will find rewarding” (810).

Citing “El ángel exterminador de Luis Buñuel: auto sacramental cinematográfico.” Cine-Lit: Essays on Peninsular Film and Fiction (1992). 31-39.

Víctor Fuentes, La mirada de Buñuel: cine, literatura y vida. Madrid: Tabla Rasa Libros y Ediciones, 2005. He cites my article on 161, 327, and 377. Earlier edition: “Con agudeza crítica, Nancy Membrez interpretó esta película como un auto sacramental cinematográfico” 2005 ed.: “Agudamente, ya Nancy J. Membrez ha escrito un ensayo sobre El ángel exterminador como ‘un auto sacramental cinematográfico,’ del cual nos da su anticipo en esta parte final de La muerte en este jardin.” (161). “En El ángel exterminador [Buñuel] elige toda la opulencia del salón burgués, tan exaltado en la novela burguesa del siglo XIX, y mofado en tantas de sus películas, a partir de La edad de oro, para representar un ‘misterio’ que nos lleva a los de la edad media y a los autos sacramentales -véase el ensayo de Membrez- por su dimensión bíblica (envuelta en las galas de la descomposición de la burguesía), y alegórica” (327). Bibliografía 377.

Thomas Deveny. “Review of Cine-Lit. Essays on Peninsular Film and Fiction. Eds. George Cabello Castellet, Jaume Martí-Olivella, and Guy H. Wood. Corvallis, OR: Oregon State University, Portland State University, and Reed College, 1992. Hispania 76 (Dec. 1993): 724-725. “It [the volume] also contains an intriguing interpretation of El ángel exterminador based on the cultural framework of the Spanish auto sacramental” (724). And a column later: “…[T]he over-all quality of the essays is excellent” (724).

Citing “Yanquis, filibusteros y patriotas: prensa y teatro en la España del 98 (1991):”

Gregorio de la Fuente Monge. “Introducción: Los estudios sobre el teatro político del XIX.” Historia y Política 29 (enero-junio de 2013): 12-43. My article cited on 28-29, 38 (bibliografía).

D.J. O'Connor and Dolores J. Walker, Representations of the Cuban and Philippine Insurrections on the Spanish Stage, 1887-1898. Tempe, AZ: Bilingual Press, 2001. In Footnote 54 they cite my article. Cited in the Bibliography 226.

Citing “The Musical Symbiosis of Stage and Street: The zarzuela chica and the organillo” (1990):

Rute Miguel. “Zarzuela.” E-dicionário de termos literários de Carlos Ceia. Dez 23, 2009. http://edtl.fcsh.unl.pt/encyclopedia/zarzuela/. Bibliografia: my article.

Citing “Llévame al cine, mamá (1989):”

Alberto Mira, Historical Dictionary of Spanish Cinema. A.k.a The A to Z of Spanish Cinema. 61

Metuchen, NJ: Scarecrow Press: 2010. They list my article (353).

Bernard P. E. Bentley, A Companion to Spanish Cinema. Woodbridge: Tamesis, 2008. He cites my article “Llévame al cine, mamá” in Footnote 1: “Nancy Membrez offers more details of these events [the arrival of cinema in Paris, London, and Madrid] with slightly different dates;” 20: on the ‘picoteros’; 25: In speaking of the scarcity of studies on early Spanish film written in English he says, “Membrez’s article (1989) actually contains a lot of information despite its brevity;” and in the Bibliography 465.

Jorge Marí, Lecturas espectaculares. El cine en la novela española desde 1970. San Lorenzo del Escorial: Ediciones Libertarias/Prodhufi, 2003. 84-7954-623-9. He cites my article in the Bibliografía 279-280.

David John George, Theatre in Madrid and Barcelona, 1892-1936: Rivals or Collaborators? Cardiff: U of Wales P, 2002. He cites my article” in Chapt. 2 footnote 23; Bibliography 225.

Susan Martin-Márquez, Feminist Discourse and Spanish Cinema. Oxford: Oxford UP, 1999. ISBN 019815979X. My article is cited in a footnote on 136.

Citing “The Mass Production of Theater (1988):”

Clinton D. Young. Music Theater and Popular Nationalism in Spain, 1880-1930. Lousiana State UP, 2016. This book is probably his diss. Google Search says my article “The Mass Production of Theater in Madrid” in his notes 7-8, 11.

Lisa Surwillo, “Copyright, Spaces and the Nineteenth Century Stage,” A History of Theatre in Spain. Eds. María Delgado and David T. Gies. Cambridge: Cambridge UP, 2012. 244-263. She cites, in Footnote 33, my article.

Lisa Surwillo, The Stages of Property: Copyrighting Theatre in Spain. Toronto: U of Toronto P, 2007. She cites my article. Lengthy quotes on p. 189n3. Sources cited 202.

Clinton D. Young, “Zarzuela; or Lyric Theatre as Consumer Nationalism in Spain.” Diss. in History, University of California-San Diego, 2006. The Works Consulted 412 includes my article.

Alberto Romero Ferrer y Yolando Vallejo Márquez, “El estudio del teatro andaluz del siglo XIX. Materiales y recursos bibliográficos.” Cuadernos de Ilustración y Romanticismo 11 (2003): 67-93. My article listed on 83.

Margot Versteeg, De Fusiladores y Morcilleros. El discurso cómico del género chico (1870- 1910). Amsterdam/Atlanta: Editions Rodopi, 2000. She cites my article in the “Bibliografía” 442.

Ríos-Font, Wadda C., Rewriting Melodrama: The Hidden Paradigm in Modern Spanish Theater. Lewisburg, PA: Bucknell University Press, 1997. Footnote 53 (p. 202): Nancy Membrez has 62

published a thorough and interesting study of the teatro por horas in which she conjectures about its success by relating it to the issue of formulas: this theater was not good or bad for the sole reason of being formulaic, but was instead a logical product of the rise of the bourgeoisie and with it of consumer power and mass production. One can infer from her arguments that aesthetic discrimination should therefore be exercised within the genre ...” Bibliography (222).

David T. Gies, El teatro en la España del siglo XIX. Cambridge: Cambridge UP, 1996. (Spanish translation of The Theatre in Nineteenth Century Spain.). He cites my article in the “Bibliography” 510.

David T. Gies, The Theatre in Nineteenth Century Spain. Cambridge: Cambridge UP, 1994. He cites my article in the “Bibliography” 364.

Michael Schinasi, “El café teatro y los orígenes del público actual.” Crítica Hispánica 16.2 (1994): 379-385. He cites my article in the Works Cited.

David T. Gies, “Glorious Invalid: Spanish Theater in the Nineteenth Century.” Hispanic Review 61.2 (Spring 1993): 213-245. [Also] [s]ee her article “The Mass Production of Theater.” Works Cited (244).

Richard F. Phillips, “The Spanish Comedias Project at the University of Colorado. A Case for Collection-Level Cataloging.” Cataloging & Classification Quarterly 17.1-2 (1993): 47-68. 3700 plays kept in 145 boxes. He cites my article on 49 and in Footnote 2 (p. 68).

Languages of the World: Cataloguing Issues and Problems. Ed. Martin D. Joaquim. London: Psychology Press, 1993. Cites my article on 68 (References).

Carmen Linares Ros. Colaboración Felipe Higuera. “Bibliografía para cuatro siglos de teatro en Madrid.” 453-485. Cuatro siglos de teatro en Madrid: Museo Municipal, Teatro Albéniz, Teatro Español, Teatro María Guerrero, mayo-junio 1992. Consorcio para la Organización de Madrid, Capital Europea de la Cultura 1992. Coords. Andrés Peláez Martín and Fernanda Andura. Madrid: Museo Municipal, 1992. 568 pp. They cite my article in the “Bibliografía” 474. Item number 757.

John Dowling, “Review of The Institutionalization of Literature in Spain. Eds. Wlad Godzich and Nicholas Spadaccini. Minneapolis: The Prisma Institute, 1987; Autobiography in Early Modern Spain. Eds. Nicholas Spadaccini and Jenaro Talens. Minneapolis: The Prisma Institute, 1988; The Crisis of Institutionalized Literature in Spain. Eds. Wlad Godzich and Nicholas Spadaccini. Minneapolis: The Prisma Institute, 1988.” Hispania 73.2 (May 1990): 420-422. “It is with real pleasure that I observe the sound scholarship of younger colleagues who are bravely endeavoring to bring Hispanic themes into the critical mainstream. At the risk of omitting equally deserving contributors, I want to call attention to chapters that struck me, with my particular interests, as exceptionally good. […] In the same volume [Crisis], Nancy Membrez, who wrote a doctoral dissertation on the teatro por horas, offers a spendid essay on ‘The Mass Production of Theater in Nineteenth Century Spain’ (309-356).” (421). 63

Frank Baasner, “Review of The Crisis of Institutionalized Literature in Spain. (Hispanic Issues 2) by Wlad Godzich and Nicholas Spadaccini.” Romanische Forschungen 102. Bd., H. 1 (1990): 115-120. “Warum NJ Membrez' literarhistorisch vorbildliche Studie zur Bedeutung des género chico in der Entwicklung des Theaters im 19.Jh. nur als Appendix erscheinen durfte, ist nicht einzusehen. Die originelle, ergebnisreiche Arbeit gehörte vielmehr ins Zentrum des Bandes.” “It is not at all evident why NJ Membrez's exemplary literary- historical study on the significance of the género chico for the development of theater in the 19th century only appears as an appendix. This original and productive (= rich in conclusive results) work really belongs at the center of the volume.” (Trans. C. Wickham.)

Citing “Eduardo Navarro Gonzalvo and the revista política (1988):”

Gregorio de la Fuente Monge. “Introducción: Los estudios sobre el teatro político del siglo My article cited on 28-29, 38 (bibliografía).

Marie Salgues, “Las quintas y el teatro: una farsa macabra.” Mélanges de la Casa de Velázquez. Nouvelle série 40-1 (2010): 191-210. In Footnotes 22, 25, and 33-34 and on 196, 198, 202 she cites my article.

Jesús Rubio Jiménez, Valle-Inclán, caricaturista moderno: nueva lectura de “Luces de Bohemia”. Vol. 159. Madrid: Editorial Fundamentos, 2006. He cites my article in the “Bibliografía” 342.

D.J. O'Connor and Dolores J. Walker, Representations of the Cuban and Philippine Insurrections on the Spanish Stage, 1887-1898. Tempe, AZ: Bilingual P, 2001. They cite my article. I’m quoted on 8-9 (concerning Eduardo Navarro Gonzalvo, identified in Footnote 25). Bibliography 226.

Margot Versteeg, De Fusiladores y Morcilleros. El discurso cómico del género chico (1870- 1910). Amsterdam/Atlanta: Editions Rodopi, 2000. She cites my article in the “Bibliografía” 442.

Jesús Rubio Jiménez, “José Gutiérrez de Alba: Creador de la revista teatral política.” Literatura y política en el siglo XIX: José María Gutiérrez de Alba: actas del Simposio Nacional, Casa de la Cultura de Alcalá de Guadaíra, 3 al 6 de febrero de 1997. Ed. José Manuel Campos Díaz. Sevilla: Centro andaluz del libro, 1998. 83-101. He cites my article on 84 and in the “Referencias bibliográficas” 100.

David T. Gies, El teatro en la España del siglo XIX. Cambridge: Cambridge UP, 1996. (Spanish translation of The Theatre in Nineteenth Century Spain.). He cites my article on 469 and in the “Bibliography” 510.

David T. Gies, The Theatre in Nineteenth Century Spain. Cambridge: Cambridge UP, 1994. He cites my article on 335 and in the “Bibliography” 364.

Citing my doctoral dissertation “The teatro por horas” (1987):

Rebecca Fell, “Gossip’s Politics: Reading Between the Lines of Emilia Pardo Bazán’s 1889 Short Story ‘Morrión y boina.’” Bulletin of Spanish Studies. Hispanic Studies and Researches on Spain, Portugal and Latin America 96.5 (2019): 779-802. Mentions my diss. on 40-41.

Eva Moreda Rodríguez, “Travelling Phonographs in fin de siècle Spain: Recording Technologies and National Regeneration in Ruperto Chapí’s El fonógrafo ambulante.” Journal of Spanish Cultural Studies 20.3 (July 25, 2019): 241-255. My diss. is listed in the References.

Jeanne Moisand, “Teatro e identidades populares: Madrid y Barcelona, finales del siglo XIX”. Tejer identidades: Socialización, cultura y política. Eds. Marta García Carrión y Sergio Valero. Valencia: Editorial Tirant Lo Blanch, 2018. 283-304. Cires my diss. In notes 12 and 21.

Carmen Servén Díez, “La chula madrileña en la narrative corta de Emilio Carrère.” Biblioteca Virtual Miguel de Cervantes. http://www.cervantesvirtual.com/obra-visor/la-chula- madrilena-en-la-narrativa-corta-de-emilio-carrere/html/0078a88c-2414-4fa8-8084- 34c8474eba68_5.html. Accessed May 10, 2018. “El uso narrativo del tipo de la chula, se acompaña y refuerza mediante el dibujo de escenarios característicos y la resonancia del habla popular madrileña. La importancia de la repetición de escenarios en el sainete, que ha de distraer a su numeroso público mediante el desarrollo original de un modelo convencional, ya ha sido anotada por Nancy J. Membrez, que ha señalado además algunos de los entornos típicos en ese género.”

Alberto Romero Ferrer, “Performing the Península. Costumbrismo in the Eighteenth and Nineteenth Centuries.” 368-379. The Routledge Companion to Iberian Studies. Eds. Javier Muñoz-Basols, Manuel Delgado Morales, Laura Lonsdale. New York: Routledge, 2017. My diss. is cited on 375 and in the Bibliography on 379.

Elena Palacios Gutiérrez. “El teatro cómico de Enrique García Álvarez”. Tesis doctoral. Universidad Complutense de Madrid (2016). Advisor: Javier Huerta Calvo. “No debemos olvidar tampoco que, por esta época, aparecen varios volúmenes dedicados al estudio del género chico. Entre ellos destaca el de Nancy Membrez, The “Teatro por horas”: History, Dynamics and Comprenhensive Bibliography of a Madrid Industry (1867-1922), monumental obra que se adentra en diversos aspectos de este tipo de manifestaciones dramáticas y que por ello trae a colación la figura de García Álvarez en numerosas ocasiones. Incluye además una bibliografía específica del autor [1987].” (p. 22). Also referenced in Footnote p. 40. “A partir del significado recogido en la RAE en 1914, que se refiere a él como una canción “alegre y festiva”, Membrez argumenta que originalmente nació en los cafés teatro y cafés concierto en torno a 1840 con esta pretensión, y que después fue modificándose. Para la investigadora, tiene sus antecedentes más inmediatos en la alta comedia, ya que mientras que el sainete enfatizaba en las clases más bajas, el juguete era la expresión en prosa y en un acto de los burgueses españoles [1987: 346-347].” Y luego en la misma página: “Cuando en la segunda década del siglo XIX [el juguete cómico] empezó a 65

desarrollarse en dos o tres actos, divergía de la comedia por la intención, menos grave, que el autor ponía en él [Membrez, 1987: 348].” (p. 96). Sobre el astracán: “Después, Jardiel Poncela y Miguel Mihura tomaron el relevo, pero desde otra estética [Membrez, 1987: 351].” (p. 101). “En la práctica, de poco sirvió la conjura para un público que acudió a la cita y la aplaudió sin reparo [Membrez, 1987: 352].” (p. 102). “Desde casi los orígenes del teatro español las designaciones de paso, entremés y sainete se suceden y conviven simultáneamente para hacer referencia al mismo tipo de trabajos jocosos [Membrez, 1987: 330].” (p. 104). “Ricardo de la Vega no estaba dispuesto a tolerar esta similitud entre su obra y el “genuino populacho español” [Membrez, 1987: 331-333].” (p. 105) “Pedro Muñoz Seca distorsionaba con su astracanada el sentido del sainete al dividirlo en dos y tres actos [Membrez, 1987: 335-336];” (p. 107). “La primera [revista] que se cita es la titulada 1864- 1865, de José Gutiérrez de Alba, de 1864 [Membrez: 1987: 361].” (p. 112). “Pese a ser muy popular, la revista pronto empezó a deteriorarse. Para intentar evitarlo se introdujo una mayor frescura en la vestimenta femenina y, lentamente, fue acercándose a las variedades [Membrez, 1987:367].” (p. 114). Footnote p. 117: “No contamos con una bibliografía demasiado específica sobre el pasillo. Para indagar sobre sus orígenes puede acudirse a los estudios de Canet [1992] y González Ollé [1996] que acompañan a sus ediciones de los Pasos de Lope de Rueda. Para el pasillo son interesantes los epígrafes correspondientes contenidos en los estudios sobre el género chico de Membrez [1987] o Espín Templado [1995a, 2008].” “Fue a raíz de la muerte del primero [Salvador María Granés], en 1911, cuando [la parodia] entró en decadencia [Membrez, 1987: 379].” (p. 125). “Las situaciones, la acción y los momentos de mayor tensión se ridiculizan. La música experimenta el mismo proceso, tanto en su melodía como en sus cantables. Normalmente, el original, en varios actos, sufre un proceso de reducción, debido a que los mecanismos burlescos no se mantienen por encima de una hora y han de concentrarse en estructuras más breves [Membrez, 1987: 381-387].” (p. 125). “Si bien desde los orígenes del teatro el vehículo de expresión preferente fue el verso, a finales del siglo XVIII este comenzó a ceder paso a la prosa. El siglo XIX supuso cierta vuelta a la estrofa, que poco a poco volvió a decaer a mitad de la centuria, pues la prosa se ajustaba más a la intención realista y a las cuestiones morales y sociales [Membrez, 1987: 147].” (p. 140). “En general, se recurría a rimas bastante libres, con combinaciones casi imposibles que respondían a la necesidad de acoplar determinadas palabras y producir comicidad, con el consiguiente peligro que suponía para los autores caer en el ripio y ser criticados por ello [Membrez, 1987: 147-149].” (p. 140).

Clinton D. Young. Music Theater and Popular Nationalism in Spain, 1880-1930. Lousiana State UP, 2016. This book is probably his diss. Google Search says my diss. is cited.

Campos Díaz, José Manuel. José María Gutiérrez de Alba (1822-1897): Biografía de un escritor viajero. Diss. Universidad de Sevilla, 2015. Cites my diss.

Carlos Ferrera, “Utopian Views of Spanish Zarzuela.” Utopian Studies 26.2 (2015): 366-382. Published by Penn State UP. He cites my diss. on 374: “Nancy Membrez and Fernando Molina have traced the origin of zarzuela as a minor genre in the so-called Theater by the Hour born during the 1868–74 Revolution, a time when political and cultural discourse was intensely nationalized (and when utopian ideas enhanced their prestige, as I have shown).”

Lucy D. Harney, “Typology, Hypergamy, and Sociopolitical Anxiety in Selected Spanish and Cuban zarzuelas.” Gestos. Revista de teoría y práctica de teatro hispánico 58 (noviembre de 2014): 81-94. On 84 she cites my diss. on the entire page. Works Cited 93.

Rakhel Villamil-Acera, “¡Qué divertido es divorciarse!: La desentimentalización del divorcio en el teatro madrileño antes y después de la Segunda República.” Hispania 97.2 (2014): 233- 243. She cites my diss. in Endnote 2: “Para conocer a fondo el origen y desarrollo de este género consúltese a Membrez.” Works cited 243.

Jeanne Moisand. “Matinée blanche ou soiré verte? La spécilisation sexuelle du théâtre à Madrid et à Barcelone (1870-1910)”. Eds. Pascale Goetschel and Jean-Claude Yon. Au théâtre! La sortie au spectacle, XIXe-XXe siècles. Paris: Publications de la Sorbonne, 2014. 179-191. Cites my diss. in her Bibliography.

Álvaro Ceballos Viro, “Puntualizaciones sobre el pasado de una zarzuela del futuro: El siglo que viene, 1876.” Dimensiones y desafíos de la zarzuela. Ed. Tobias Brandenberger. Münster: LIT Verlag, 2014. Footnote 17 (p. 138): “…para un balance más sintético, la tesis de Nancy Membrez…”; quotes me on 148; Bibliografía 163.

Jeanne Moisand, Scènes capitales. Madrid, Barcelone et le monde théâtral fin de siècle. Madrid: Casa de Velázquez, 2013. She cites my dissertation on 12 (“Le fontionennement du marché théâtral espagnol a intéressé l’historienne américaine Nancy Membrez. Cette dernière a cherché dans sa thèse à étudier l’evolution vers la grande production du ‘théâtre par heure’ madrilène, en donnant des indices quantitifs sur le nombre annuel de pièces produites, et en étudiant aussi leur auteurs et les personnages et situations cliches les plus récurrent dans leur pièces. A recherche s’appuie exclusivement sur le dépouillement de la presse, et principalement de revue satirique du Madrid Cómico, dont les auteurs sont aussi au centre du système de production du género chico madrilène.”), 48 (Footnote 48: “Sur les horaires des théâtres et les réactions des autorités aux horaires tardifs, voir NJM, The teatro por horas.”), 162 (“Lors des années de mobilisation qui précèdent et suivent la révolution libérale de 1868, de nombreux individus s’improvisent dramaturges. En complétant les données de la thèse de Nancy Membrez avec d’autres sources de statistiques théâtrales, il est possible d’établir l’evolution du nombre des nouveautés produites annuellement à Madrid, tel que la presse en rend compte (graphique ci-dessous).” Also Footnote 38), 225 (Footnote 58: NJM, ‘The teatro por horas,’ Annexes: illustrations de la presse périodique.”), “Bibliographie” 380.

Dru Dougherty and Andrew Anderson, “Continuity and Innovation on the Pre-Civil War Stage,” A History of Theatre in Spain. Eds. María Delgado and David T. Gies. Cambridge: Cambridge UP, 2012: 282-309. They cite my dissertation in Footnote 21.

Carmen Pereira-Muro, “Parecía efecto escénico, coro de zarzuela bufa: la zarzuela como intertexto y alegoría nacional en Insolación de Emilia Pardo Bazán.” Studi Ispanici 37 (2012): 165-180. p. 169: “parecía efecto escénico, coro de zarzuela bufa» reproducida mecánicamente (masificada) hasta el proletariado urbano que no tiene acceso a los teatros, trazando así lo que Nancy Membrez describe como una relación simbiótica … Nancy J. Membrez, loc. cit., p. 49.” 67

Jason Thomas Parker, “From Page to Stage: Print Journalism, Commercial Theater and the Birth of Modern Spectatorship in Madrid.” Diss. Vanderbilt University, 2011. He cites my diss. on 68-69, 75-76, 78, 152-153, 156-157, 252: “Nancy Membrez sums it up best;” 325, Works Cited 354.

Jeanne Moisand, “Madrid y Barcelona, capitales de cultura en el mercado internacional del teatro a finales del siglo XIX (1860-1910).” Ayer. Revista de Historia Contemporánea 79.3 (2010): 201-222. She cites my diss. in Footnotes 7 and 29.

Marie Salgues, Teatro patriótico y nacionalismo en España: 1859-1900. Zaragoza: Universidad de Zaragoza, 2010. She cites my diss. on 15, 20, 27, 51-52, 91, 118-119, 121-122, 144, 224, 328 (bibliografía).

Agnes Model, “La música en el sainete lírico. Una propuesta metodológica basada en el análisis de las funciones musicales de la banda sonora.” Revista de Musicología 32.2 (2009): 603- 621. She cites my diss. on 604 and Footnote 2: “Estos trabajos han fructificado en unas importantes contribuciones a causa de la introducción de un planteamiento histórico social acerca del teatro por horas por parte de María Pilar Espín-Templado, Nancy Membrez y Carmen del Moral Ruiz.”

Dolores Thion Soriano-Mollá, “Eusebio Blasco, dramaturgo por horas”. Teatro Popular en España en el Siglo XIX. Ed. Salvador Castañeda. Anejos Siglo XIX, Sección Monográfica, Universidad de Valladolid, 15, 2009, VA 653-1995, pp. 177-180. My diss is cited.

Rakhel Villamil-Acera, “La construcción del diálogo teatral en el teatro cómico español, (1898- 1936.” Diss. University of California-Berkeley, 2008. 319 pp. She cites my diss., “estudio sistemático,” in Footnotes 17, 20, 23, 24, 25, and 53. She uses the word “generochiquistas,” a word I invented in my diss.! She cites my diss. on 5 and 23-24: “Los trabajos de Nancy J. Membrez y José Deleito y Piñuela nos aportan numerosos datos histórico-sociales sobre el inicio de dicha industria teatral.” She continues another paragraph more referring to my work. Also cited further down the page. No one had ever called the teatro por horas an “industry” until I did in my diss. It is with great pleasure that I note other researchers are now using this description. My diss. is cited again on 26-27 and 311-312 Works Cited.

Clinton D. Young, “Theatrical Reform and the Emergence of Mass Culture in Spain.” Sport in Society 11.6 (2008): 630-642. My diss. is cited in Footnotes 12, 15, 31, and Works Cited 642. Young summarizes vast swaths of my diss. in his article.

Teresa Herrera, “Review of Carmen del Moral Ruiz, El género chico. Ocio y teatro en Madrid (1880-1910).” Arizona Journal of Hispanic Cultural Studies 11 (2007): 236-237. On 237: “Para los que conocen la monumental tesis de Nancy Membrez, notarán que existen algunos capítulos en común, como los relacionados con las biografías de los autores, la gestión empresarial del género chico y los precios del teatro. Sin embargo, las perspectivas de las autoras, textual para Membrez e histórica para Del Moral, se complementan más que repetirse.” I thank her, but she got it backwards. My focus was historical and Carmen’s 68

textual.

Lisa Surwillo, The Stages of Property: Copyrighting Theatre in Spain. Toronto: U of Toronto P, 2007. She cites my dissertation. Lengthy quotes on p. 189n3. Sources cited 202.

Jesús Rubio Jiménez, Valle-Inclán, caricaturista moderno: nueva lectura de “Luces de Bohemia”. Vol. 159. Madrid: Editorial Fundamentos, 2006. He cites my diss. in the “Bibliografía” 342.

Lucy D. Harney, “Controlling Resistance, Resisting Control: The género chico and the Dynamics of Mass Entertainment in Late Nineteenth-Century Spain,” Arizona Journal of Hispanic Cultural Studies 10.1 (2006) 151-167. She cites my diss. on 153, 155, 156, 158, Footnotes 1 and 2, and Works Cited.

Clinton D. Young, “Zarzuela; or Lyric Theatre as Consumer Nationalism in Spain.” Diss. in History, University of California-San Diego, 2006. He cites my diss. in Footnote 26: “There are two scholars who have studied the teatro por horas exhaustively and are the logical starting point for looking at this type of theater. The first is María Pilar Espín-Templado, whose El teatro por horas en Madrid (1870-1910) (Madrid: Instituto de Estudios madrileños) gives an excellent summary of the phenomenon; this is a shorter version of her more comprehensive dissertation on the same subject, “El teatro por horas en Madrid (1870-1910) (Subgéneros que comprende, autores principales y análisis de algunas obras representativas)” (Tesis doctoral: Universidad Complutense de Madrid, 1986). For an exhaustive study in English—which manages to encompass not only the teatro por horas but early film as well— see Nancy J. Membrez, “The teatro por horas: History, Dynamics and Comprehensive Bibliography of a Madrid Industry, 1867-1922”, (Ph.D. Dissertation: University of California, Santa Barbara, 1987). My brief summary draws on both these works.” He cites my diss. on 156 and Footnote 10: “Much of my summary is drawn from Membrez’s outline, although I do feel she perhaps overstates the political conservatism of these writers as a whole.” A surprising conclusion since Marie Sagues doesn’t think I painted one of the authors of this same group conservative enough! He cites my diss. again in Footnotes 21, 27, 38, 40, 44, 46, 47, 50, 78. He continues summarizing chapters of my diss. throughout. Footnote 21: “Direct statistics about theatre prices and audiences are difficult to come by: for the best summaries on the subject, see Membrez, “The teatro por horas” and María Pilar Espín Templado, El teatro por horas en Madrid.” The Works Consulted 412 includes my diss.

James R. Chatham, “Madrid en las tesis doctorales de lengua y literatura españolas aceptadas en universidades de Europa Occidental y Norteamérica” Cuadernos para investigación de la literatura (2006): 271-300. My diss. is listed on 285.

María Teresa García-Abad, Intermedios: estudios sobre literatura, teatro y cine. Vol. 149. Madrid: Editorial Fundamentos, 2005. The “Bibliografía” 346 cites my diss.

Julia María Labrador Ben y Alberto Sánchez Álvarez-Insúa, Teatro frívolo y Teatro selecto: la producción teatral de Editorial Cisne, Barcelona, 1935-1943. Madrid: Editorial CSIC, 2005. 69

They refer to 360-375 of my diss. on 21. “Es preciso comenzar diciendo que los estudios científicos sobre el subgénero [v.g. la revista musical], o incluso académicos en forma de tratados sobre el teatro, son muy escasos. En 1995 la profesora Espín Templado le dedicó un capítulo de su libro en el que estudia también el teatro por horas. Pero dado que dicha monografía está delimitada en el tiempo (1870-1910), no recoge el que sería el período de expansión y posterior esplendor del subgénero, cuya culminación será la España de la II República. No obstante, el estudio de la profesora Espín Templado es de gran interés para conocer los orígenes del subgénero y su especial trayectoria futura, disímil de la europea y norteamericana. También lo es el capítulo a ella dedicado en la tesis de la investigadora norteamericana Nancy Membrez, aunque la amplitud de los temas tratados impide profundizar en el que nos ocupa.” (21) Also 65 (bibliography).

Jeffrey T. Bersett, El Burlador de Sevilla: Nineteenth Century Theatrical Appropriations of Don Juan Tenorio. Newark, Delaware: Juan de la Cuesta, 2003. He cites my diss. on 75, 94, 109, 183, 233, 239, 243, 245, 249, 256, 270 and Works Cited 309.

Lucy D. Harney, “Género Chico and a Crisis of Perspective in Nineteenth-Century Spanish Popular Culture.” Journal of Interdisciplinary Literary Studies 9.1-2 (2003): 41-57. My diss. is cited on 44, 51: “The one-dimensional nature of the characters, however, supports teatro por horas scholar Nancy Jane Membrez’s contention regarding the absence of working-class audience members during this period. ‘With this vital gauge of reality missing,’ she maintains, ‘plays featuring lower class types became overly mannered...’ (118).”; Note 1 (55): “I am greatly indebted to Nancy Jane Hartley Membrez for her extensive documentation of the evolution of género chico. Particularly for my discussion of the entertainment culture of the early teatro por horas, her exhaustive bibliography has proved invaluable.” Works Cited 56.

Dru Dougherty, Palimpsestos al cubo: prácticas discursivas de Valle Inclán. Editorial Fundamentos, 2003. My diss. cited on 120 (footnote 5).

Lucy D. Harney, “Costumbrismo and the Ideology of Género Chico.” Ojáncano: Revista de Literatura Española 22 (2002): 22, 33-58. She cites my diss. on 46; End note 1: “I am profoundly indebted to Nancy Jane Membrez for her monumental documentation and analysis of the teatro por horas industry.” Works Cited 55.

Lucy D. Harney, “Carnival and Critical Reception in the Sainete Tradition.” Modern Language Notes (Hispanic Issue) 117.2 (2002): 310-30. She cites my diss. twice on 322, then 324, 326; 329 Works Cited.

David John George, Theatre in Madrid and Barcelona, 1892-1936: Rivals or Collaborators? Cardiff: U of Wales P, 2002. He cites my diss. in Chapt. 1 Foonote 43; Bibliography 225.

D.J. O'Connor and Dolores J. Walker, Representations of the Cuban and Philippine Insurrections on the Spanish Stage, 1887-1898. Tempe, AZ: Bilingual Press, 2001. They cite my dissertation, Part one Footnote 5: “The three volumes that constitute Nancy J. Membrez’s Ph.D. dissertation, The teatro por horas..., provide an indispensable mine of information on the género chico.” In Footnote 55 they cite my diss chapter on censorship and government decrees. Bibliography 226.

Margot Versteeg, De Fusiladores y Morcilleros. El discurso cómico del género chico (1870- 1910). Amsterdam/Atlanta: Editions Rodopi, 2000. She cites my diss in the “Bibliografía” 442. She cites me on 10: “Una aportación importante a los estudios del género chico es la tesis de Membrez (1987), por la amplia bibliografía de publicaciones y periódicos finiseculares que contiene,” 51, 61-62 (twice), 67, 71, 223, 280; Cap. El género chico y su contexto, note 35; Cap. El sainete lírico, note 106; Cap. La revista lírica, note 13 and 88; Cap. La parodia, note 13.

Alberto Romero Ferrer, “La tradición del sainete andaluz en el teatro cómico del siglo XIX.” Risas y sonrisas en el teatro de los siglos XVIII y XIX (libro). Ed. Josep Maria Sala Valldaura. Scriptura (Universitat de Lleida) 15 (1999): 77-88. He cites my dissertation in Footnote 29: “el antológico estudio de Nancy Membrez.” in speaking of “la descendencia paródica” (84).

Serge Salaün, “Teatralerías. Balance crítico sobre teatro y espectáculos (géneros musicales y menores, zarzuelas, variedades, canción).” Notas: Reseñas iberoamericanas. Literatura, sociedad, historia 6.2 (1999): 17-30. He cites my diss on 23 but his comment is withering. It’s obvious he never read it or didn’t understand it. He isn’t any kinder to María Pilar Espín- Templado and Margot Versteeg. His attitude is self-serving to say the least since he prefers derivative sources to original research.

Dolores Thion Soriano-Mollá, “Eusebio Blasco, dramaturgo por horas”. Historia de los espectáculos en España. Eds. Andrés Amorós y José María Diez Borque. Madrid: Castalia, 1999. My diss cited on 162.

Mariano de Paco. “Reseña de La zarzuela chica madrileña: La gran vía. La verbena de la Paloma. Agua, azucarillos y aguardiente. La revoltosa. Edición a cargo de Fernando Doménech Rico. Realizada por Editorial Castalia. Comunidad de Madrid. 1998.” Revista de la Asociación de Autores de Teatro (verano de 1999): 37-38. “El estudio del teatro desde una perspectiva que da la necesaria importancia a las representaciones y a la recepción, junto a los textos, ha favorecido la dedicación a direcciones de suma actividad en otros tiempos; ello ha supuesto la composición de un panorama conforme con la realidad, que permitirá trazar de un modo más preciso una historia del teatro en la que aparezcan los ‘autores de calidad’, a veces con escasa proyección hacia el público de su época, y también géneros, autores y títulos menos valorados hoy que la tuvieron muy abundante. Los dramas sociales o el drama rural son buenos ejemplos de esto, como lo es en mayor medida el del género chico, con o sin acompañamiento musical. En esta línea que han cultivado en nuestros días estudiosos (Manuel Seco, Serge Salaün, Nancy Membrez, Andrés Amorós, María del Pilar Espín Templado, Alberto Romero) y creadores (Laro Olmo, José María Rodríguez Méndez, 71

Francisco Nieva) se ubica Fernando Doménech al editar las quizá mejores muestras de La zarzuela chica madrileña….”

Michael Schinasi, “Ventura de la Vega, Tomás Rodríguez Rubí y la lucha por el teatro nacional.” Estudios de literatura española de los siglos XIX y XX: homenaje a Juan María Díez Taboada. Eds. Juan María Díez Taboada and Cecilia García Antón. Vol. 47. Editorial CSIC- CSIC P, 1998. 390-398. My diss. is cited in the Bibliography 398.

Jesús Rubio Jiménez, “José Gutiérrez de Alba: Creador de la revista teatral política.” Literatura y política en el siglo XIX: José María Gutiérrez de Alba: actas del Simposio Nacional, Casa de la Cultura de Alcalá de Guadaíra, 3 al 6 de febrero de 1997. Ed. José Manuel Campos Díaz. Sevilla: Centro andaluz del libro, 1998. 83-101. He cites my diss. on 84 and in the “Referencias bibliográficas” 100.

Carlos Serrano, “Continuidad y recuperación de los mitos literarios–Don Juan y el teatro en España durante los años 20.” Nuevos caminos en la investigación de los años 20 en España. Ed. Harald Wentzlaff-Eggebert. Tübingen: Max Niemeyer Verlag, 1998. 71-76. He cites my diss. on 72 and in the Bibliography (76).

Lucy Diane Ditto [later Harney]. “Genero Chico and the Social Economy of Mass Entertainment.” Diss. U of Texas, 1997. p. vi: “Along with all others who study this genre, I am profoundly indebted to Nancy Jane Membrez for her monumental treatment of the teatro por horas.” 6, 21, 31, 57, 58, 59 (twice), 61, 62, 64 (twice), 69, 71-72, 73 (twice), 81, 86, 104, 241; Intro Footnotes 1-3, 7; Chapt. 1 Footnotes 3, 7 (twice), 8, 11; Chapt. 2 Foonote 3; Bibliography 277.

Luis Miguel Fernández, “Pardo Bazán y el cinematógrafo de los primeros tiempos.” Estudios sobre Emilia Pardo Bazán: in memoriam Maurice Hemingway. Ed. José Manuel González Herrán. Santiago de Compostela: Universidade de Santiago de Compostela, 1997. 97-112. He cites my diss. and “Delirium tremens” on 98-99 and in the “Referencias bibliográficas” 111.

Javier Serrano Alonso, “La parodia del modernismo: El Tenorio modernista, de Pablo Parellada (1906).” Anales de la literatura española contemporánea 21.3 (1996): 365–383. He cites my diss. in foonote 7 (p. 381): “Lo afirma Nancy Membrez (302): ‘According to the reviews of the period, Tenorio modernista was well received by the Teatro Lara’s public, though judged a bit overdone’” and the “Obras consultadas” (20). How ironic that my article on El Tenorio modernista should be turned down by ALEC circa 1990 for being “too entertaining” but this scholar cited my diss., where my article originated, and published his article in ALEC.

David T. Gies, El teatro en la España del siglo XIX. Cambridge: Cambridge UP, 1996. (Spanish translation of The Theatre in Nineteenth Century Spain.). He cites my diss. on 35, 399, and 464. “Bibliography” 510.

Carlos Serrano (recop., ed. e introducción), Carnaval en noviembre. Parodias teatrales españolas de Don Juan Tenorio. Alicante: Instituto de Cultura Juan Gil-Albert, 1996. He 72

cites my diss. on 42, 43, 48, 49, 50, 53, 54, 55, 57, 58, 61, 64, and 65.

David T. Gies, The Theatre in Nineteenth Century Spain. Cambridge: Cambridge UP, 1994. Cites my dissertation on 24, 220, and 285 (“the excellent thesis by Nancy Membrez”), 332 “Short plays developed into a wildly popular (and wildly remunerative) phenomenon known as the ‘teatro por horas’ which Nancy Membrez has studied with exhaustive patience and valuable results. She claims for them the ‘complete domination of the Madrid theater scene’ by the end of the century, adding further that they form the ‘common denominator of virtually all theatre activity from 1867 to 1922.’”). “Bibliography” 364.

Michael Schinasi, “El café teatro y los orígenes del público actual.” Crítica Hispánica 16.2 (1994): 379-385. Refers to my diss. in a long, flattering opening paragraph to his article. On 380 he cites and then disagrees with me about the beginning date of the café-teatro. He pushes the date much further back according to his research. He’s probably right. I’ll be correcting that in my thesis revision. Works Cited.

Francesc Bonamusa y Joan Serralonga i Urquidi. La sociedad urbana en la España contemporánea. Asociación de Historia Contemporánea, 1994. My thesis is listed on 231 and 255.

Mariano Martín Rodríguez, El teatro de lenguas románicas extranjeras en Madrid (1918-1936). Diss. Universidad Complutense de Madrid, 1994. Cites my diss. in his bibliography (1159).

David T. Gies, “Glorious Invalid: Spanish Theater in the Nineteenth Century.” Hispanic Review 61.2 (Spring 1993): 213-245. He cites me on 229 (footnote 10: “The only complete study to date of this interesting phenomenon is a doctoral dissertation by Nancy Membrez, ‘The teatro por horas.’ Works Cited 244.

David T. Gies. “La subversión de Don Juan: Parodias decimonónicas del Tenorio, con una nota pornográfica.” España contemporánea 7.1 (1993): 93-102. “Nancy Membrez ha documentado la gran popularidad del «teatro por horas», que incluye, naturalmente, las parodias teatrales, que ella denomina «un vital, si parasítico, componente de la producción de obras en un acto» (379).” + Bibliografía 102. https://kb.osu.edu/dspace/bitstream/handle/ 1811/81255/EC_V7N1_093.pdf

Juan Miguel Godoy Marquet, “Comedias y comediantes. Revista quincenal (1909-1912): Al Servicio de un teatro español de calidad.” Anales de la Literatura Española Contemporánea. Society of Spanish and Spanish-American Studies 18.3 (1993): 503-518. Endnote 12 cites my dissertation: “Sobre este tema [de la decadencia del género chico] ver el estudio y la amplia bibliografía de Nancy Membrez.” “Obras consultadas” 513.

Vance R. Holloway, “Canon and Reception: The Rural Dramas of José López Pinillos,” South Central Review 10.4 (Winter 1993): 18-33. He cites my dissertation on 19 and in the Works Cited 33.

Mariano Martín Rodríguez, “’El arte del teatro’: Una revista teatral en la coyuntura madrileña 73

(1906-1908).” Revista de Literatura 55.109 (1 enero 1993): 541-556. Footnote 6: “La doctora Nancy Membrez proporciona valiosa información sobre esta y otras modalidades de teatro menor de la época en ‘The teatro por horas: History, dynamics and comprehensive bibliography of a Madrid industry, 1867-1992 (género chico, género infimo and early Cinema;’” Footnote 13.

Michael Schinasi, “The Anarchy of Theatrical Genres in Mid-Nineteenth-Century Spain,” Purdue Romance Annual 2 (1990): 534-538. He cites my diss. on 536 and in the Works Cited 537-538.

Citing my entry on “Rosario Acuña” (Women Writers of Spain: An Annotated Bio- Bibliographical Guide. Ed. Galerstein, 1986):

David T. Gies, El teatro en la España del siglo XIX. Cambridge: Cambridge UP, 1996. (Spanish translation of The Theatre in Nineteenth Century Spain.). He cites my dissertation on 35, 399, and 464. He cites my article on 288. “Bibliography” 510.

David T. Gies, “Lost Jewels and Absent Women: Toward a History of the Theatre in the Nineteenth-Century Spain.” Critica Hispánica 17.1 (Spring 1995): 81-93. On 86 He lists many of the women writers I annotated in Galerstein and specifically mentions my contribution on Rosario Acuña on 87.

Crítica Hispánica. East Tennessee State University. Vols. 17-18 (1995). “Her ‘free- thinking’ views are amply in evidence in her dynamic plays, which produced as much hostility as acclaim among her audiences (Nancy Membrez reports that an article in the Revista de Madrid in l884 claimed that she was “para los hombres una literata, y para las mujeres una librepensadora, y no inspira entre unos y otras simpatias”) (Galerstein 4). Later in her life she was threatened with jail and forced to flee into exile for her political stance in support of workers' rights.”

David T. Gies, The Theatre in Nineteenth Century Spain. Cambridge: Cambridge UP, 1994. He cites my article on 205, 206. “Bibliography” 364.

Acknowledgements:

Keith Richards, Themes in Latin American Cinema: A Critical Survey. 2nd. Ed. McFarland, 2020. In the intro, “Nancy Membrez has been extremely generous.”

María Guadalupe Coreño. “Las actitudes lingüísticas de las madres bilingües y biculturales en San Antonio, Texas: Un estudio de caso de dos madres mexicanas.” MA. Thesis. University of Texas at San Antonio, 2019. In the introduction she thanks me for being on her committee.

Linda Elizabeth Moran, Michelle Bachelet: The Rise of the Supra-Madre from the Chilean Body Politic. Diss. University of Birmingham (England), 2018. In the introduction, she thanks me for the “initial flight-training” and setting “a course for a far horizon.” 74

Diana P. Harmon, Cortesía convencional versus cortesía interpretada: Estudio del habla de Colombia. Diss. University of Houston, 2018. “Thank you” on xvi.

Erin K. Hogan, “El saber de la niñez callejera del cine peronista de Toscanito y Adrianita a Crónica de un niño solo (Favio 1965).” El ojo que piensa. Revista de cine iberoamericano 14 (enero-junio de 2017): 7-19. “También quiere agradecer a la Profesora Nancy Membrez por sus consejos y datos sobre la investigación de archivo en Buenos Aires…” (17).

Dona Kercher, Latin Hitchcock. New York: Columbia UP, 2015. In the Acknowledgements: “At that initial seminar I also met Kathleen Vernon, Susan Martin-Márquez and Nancy Membrez, friends and models in the field of Hispanic cinemas from whom I continue to learn” (vii).

Daniel Alejandro González, “Cultivating Civic Engagement Through Organizational Relationships at Grassorrots Levels.” MA Diss. UTSA. 2014. “Thank you” (iv).

Pamela Pappas-Toro, “Race under dictatorship: the political articulation of blackness in the Dominican Republic and Brazil.” Diss. University of Illinois at Urbana-Champaign, 2013. “A mis profesores de UTSA: Mary Ellen García, Antonio Samper-Padilla y Nancy Membrez por tanto aprendizaje y comunidad” (viii).

Verónica Pérez Picasso, “Sexo y ciudad: La representación de la ciudad de México en la voz femenina.” MA diss. UTSA, 2013. “Agradezco a la Dra. Membrez… por sus comentarios y sugerencias” (iv).

Sabine Hake, Screen Nazis: Cinema, History, and Democracy. Madison: University of Wisconsin P, 2012. She acknowledges me on p. xi for having invited her to present at UTSA (at a film conference I organized) as a keynote speaker with this theme.

Keith John Richards, Themes in Latin American Cinema: A Critical Survey. Jefferson, NC: McFarland, 2011. I am acknowledged on p. ix: “Nancy Membrez, at the University of Texas at San Antonio, is another filmmaker in her own right as well as an aficionada and teacher of Latin American cinema. Nancy has been extremely generous with time and effort in reading and orientation, particularly with the chapter on Eliseo Subiela’s El lado oscuro del corazón.”

Cathleen Rountree. The Movie Lover’s Club. New World Library, 2011. She thanks me on 290.

Luz Adriana Pérez, “Reggeatón: Manifestación de artística de los marginados.” MA Thesis, UTSA, 2008. “Mi agradecimiento se extiende al Dr. Jack Himelblau y a la Dra. Nancy Membrez, quienes fueron piezas importantísimas en mi enriquecimiento intelectual.”

Vernon Chamberlin, ‘The Perils of Interpreting Fortunata's Dream’ and Other Studies on Galdós, 1961-2002. Newark, Delaware: Juan de la Cuesta, 2002. “It is a pleasure to thank Nancy Membrez, University of Texas (San Antonio), for calling to my attention Carlos María Cortezo (1850-1933), footnote 1 on p. 1 of Chapter 1. 75

Speaking the Other Self: American Women Writers. Ed. Jeanne Campbell Reesman. Athens: University of Georgia, 1997. I’m acknowledged on p. xi. I played a small part in helping Reesman organize an American Women Writers conference at UTSA.

My films are available for viewing at https://vimeo.com/nancymembrez:

Important: Films listed “Restricted view” cannot be seen in public view.

Short Subjects:

Public View:

2008-2017 “Gramática del cine.” 5ª Ed. 8-min. instructional film.

2017 “Commedia dell’arte.” Compilation of stills from the four Italian and French plays performed in 2016 at UTSA. 8 mins.

2016 “Director of Photography Ricardo De Angelis Talks about Man Facing Southeast.” 26- min. interview. One of three featurettes of mine on the Kino Lorber DVD/Blue-Ray release of Man Facing Southeast, written and directed by Eliseo Subiela. This version has no subtitles (the Kino Lorber company added my English subtitles at a later point) though the title and intertitles are in English.

2016 “Collaborating with Eliseo Subiela.” 20-min. lecture.

2015 “Eliseo Subiela de rodaje.” Full title: “Primera tarde de rodaje con Eliseo Subiela en el Teatro San Martín.” 3-min. documentary.

2015 “Filología: Lic. María Guadalupe Coreño entrevista al Dr. Francisco Marcos-Marín.” 33 mins. Originally created for IMFAHE for mentoring Ph.D. students in Spain. 40 mins.

2009-2013 “Film Grammar.” 5th Ed. 8-min. instructional film.

2012 “Una mariposa blanca.” A 30-min. comedy by Gabriela Roepke.

2010 “El Museo del Cine.” Subtitled. 6-min. interview.

2010 “Encuentro Juan José Campanella y Fernando Trueba.” Letra (Madrid). Fernando Arturo Vichez Rodríguez, camera. NJM, Editor. 18 mins.

2009 “Une petite grammaire du film.” 1st ed. 8-min. instructional film. French titles: Cristian Bratu.

2008 “Strategies for Re-creating the Texas Edwardian and Beyond in Portrait in Sepia Tone.” 4- min. documentary.

2006 “Rolando Briseño, San Antonio Artist.” 3-min. documentary.

2006 “Marie Laure Ilie: Draping and Beyond. Recent Works.” 4-min. documentary.

2006 “Marie Laure Ilie: Par-delà les drapés. Oeuvres récentes.” 4-min. documentary.

2005 “El escritor.” A 7-min. narrative.

2003 “The Penguin’s Complaint.” A film for young children. 3 mins.

2001-2003 “Celebremos la herencia hispánica.” Sixteen 30-second spots based on Spanish- speaking authors.

2001 “Lifesaver/Salvavidas.” A 4-min. fairy tale.

Restricted View:

Feature Film:

2008 Portrait in Sepia Tone. Subtitulada. Drama; thriller.

Short Subjects:

2016 “Screenwriter-Director Eliseo Subiela Talks about Madness and Man Facing Southeast.” 20-min. interview. One of three featurettes of mine on the Kino Lorber DVD/Blue-Ray release of Man Facing Southeast, written and directed by Eliseo Subiela. This version has no subtitles (the Kino Lorber company added my English subtitles at a later point) though the title and intertitles are in English.

2016 “Actor Hugo Soto Talks About Man Facing Southeast and Working with Writer-Director Eliseo Subiela, in 1993.” 22 mins. Camera and Interviewer: Jorge Ruffinelli, Stanford University (1993). Newly restored, edited, and subtitled by NJM. One of three featurettes of mine on the Kino Lorber DVD/Blue-Ray release of Man Facing Southeast, written and directed by Eliseo Subiela. This version, however, has no subtitles (the Kino Lorber company added my English subtitles at a later point) though the title and intertitles are in English.