DIRECTORS, 4 EDITION SAURA Carlos Saura(right) on the set of Ay! Carmela Kinder, Marcia, The Children of Franco in the New Spar D'Lugo, Marvin, Historical Reflexivity: Carlos Sauras Anti-Car Cinema, in Quarterly Review of Film Studies(New Yor men, in Wide Angle(Baltimore, Maryland ), vol 9, no 3, 1987 Spring 1983 Moore, L,"Can Saura Save Olympic Epic?, in Variety(New Insdorf, Annette, Soiar con tus ojos: Carlos Sauras Melodic York), 31 August 1992. Cinema, 'in Quarterly Review of Film Studies(New York), Helman, Alicja, ""Czar pewnego imienia, in Kino(Warsaw), July- oring 1983. August 1994. Clarens, Carlos,""Is There Film after Bunuel? " in Village Voice Landrot, Marine, "La griffe espagnole, in Telerama(Paris),8 Feb New York), 6 January 1984 ruary 1995 Hernandez, V,""Lectura e interpretacion, el contexto y la referencia Arumi, E,""Goya, artista revolucionario y su influencia en el cine, el cine de in Filnm-Historia(Barcelona). no. 3, 1996. ter 1984 Imihullu(Helsinki), no 6, 1996 Schumacher. E. "'Saura's New Film Returns to Flamenco ' in New York Times. 15 December 1985 Rabal, F, "Freund meiner Freund, in Film und Fernsehen(berlin) l.14,no.7,1986 Over the past three decades, Carlos Saura has attained interna- Hopewell, John, ""Mr. Carlosawa: Carlos Saura at the National Film tional stature while exploring quintessentially Spanish themes. Saura eatre, in Sight and Sound ( London), Autumn 1986 was one of the first Spanish filmmakers to deal with the Spanish Civil Hunter, A,"A Spanish Point of View, in Films and Filming War and its aftermath. In several films he explored the impact of the war years and of the postwar period on the men and women of his Carlos Saura Joins with Gomez on Ambitious $5.5-mil El Dorado generation, those who were born in the 1930s and who suffered in Variety(New York), 22 October 1986 emotional and psychological damage that affected them well intoDIRECTORS, 4 SAURA th EDITION 865 Carlos Saura (right) on the set of Ay! Carmela Kinder, Marcia, ‘‘The Children of Franco in the New Spanish Cinema,’’ in Quarterly Review of Film Studies (New York), Spring 1983. Insdorf, Annette, ‘‘Soñar con tus ojos: Carlos Saura’s Melodic Cinema,’’ in Quarterly Review of Film Studies (New York), Spring 1983. Clarens, Carlos, ‘‘Is There Film after Buñuel?’’ in Village Voice (New York), 6 January 1984. Hernandez, V., ‘‘Lectura e interpretacion, el contexto y la referencia en el cine de Carlos Saura,’’ in Contracampo (Madrid), Win￾ter 1984. Schumacher, E., ‘‘Saura’s New Film Returns to Flamenco,’’ in New York Times, 15 December 1985. Rabal, F., ‘‘Freund meiner Freund,’’ in Film und Fernsehen (Berlin), vol. 14, no. 7, 1986. Hopewell, John, ‘‘Mr. Carlosawa: Carlos Saura at the National Film Theatre,’’ in Sight and Sound (London), Autumn 1986. Hunter, A., ‘‘A Spanish Point of View,’’ in Films and Filming (London), September 1986. ‘‘Carlos Saura Joins with Gomez on Ambitious $5.5-mil El Dorado,’’ in Variety (New York), 22 October 1986. D’Lugo, Marvin, ‘‘Historical Reflexivity: Carlos Saura’s Anti-Car￾men,’’ in Wide Angle (Baltimore, Maryland), vol. 9, no. 3, 1987. Moore, L., ‘‘Can Saura Save Olympic Epic?,’’ in Variety (New York), 31 August 1992. Helman, Alicja, ‘‘Czar pewnego imienia,’’ in Kino (Warsaw), July￾August 1994. Landrot, Marine, ‘‘La griffe espagnole,’’ in Télérama (Paris), 8 Feb￾ruary 1995. Arumi, E., ‘‘Goya, artista revolucionario y su influencia en el cine,’’ in Film-Historia (Barcelona), no. 3, 1996. Filmihullu (Helsinki), no. 6, 1996. *** Over the past three decades, Carlos Saura has attained interna￾tional stature while exploring quintessentially Spanish themes. Saura was one of the first Spanish filmmakers to deal with the Spanish Civil War and its aftermath. In several films he explored the impact of the war years and of the postwar period on the men and women of his generation, those who were born in the 1930s and who suffered emotional and psychological damage that affected them well into