Jo Evans

Biographic Data

ID5951088
NAMEJo Evans
GIVEN NAMESJo
FAMILY NAMEEvans
SIGNATUREEVANS J
AFFILIATIONSUniversity College London
ORCID0000-0003-3738-9366
VERIFIEDYes
TOTAL WORKS9
TOTAL CITATIONS0
WORKS AS AUTHOR9
WORKS AS EDITOR0
FIRST PUBLICATION YEAR2007
LATEST PUBLICATION YEAR2026
H-INDEX0

  • How Lived Experience Advisory Groups Contribute to the Design and Conduct of Mental Health Research

    Open AccessJo Evans, Samuel Keightley et al.ARTICLEHealth Expectations2026

    INTRODUCTION: The positive impact of patient and public involvement (PPI) on the relevance, accessibility and acceptability of mental health research is well documented. Much of this reporting comes from researchers; less is known about the perspectives of PPI contributors. We are interested in exploring which issues people with lived experience (LE) prioritise when reviewing mental health research, with a view to identifying some of the underlyi…

  • The Umbilical Cord Gag in Luis Buñuel’s Subida al cielo (1951)

    Jo Evans, Breixo ViejoARTICLEBulletin of Spanish Studies2018

    This article examines the umbilical cord sequence in Luis Buñuel’s Subida al cielo (Mexico, 1951), and traces the comical ties that so often bind Buñuel's characters to their parents, back to a poem titled ‘Mojigatería’ which Buñuel wrote in the 1920s. The article then uses this connection to propose that the brief Oedipal-umbilical cord gag inserted into the otherwise mainstream narrative of Subida al cielo illustrates the vital importance of th…

  • Food matters. Alonso Quijano’s Diet and the Discourse of Food in Early Modern Spain/Cinema at the Edges

    Trevor J Dadson, Jo Evans et al.ARTICLEHispanic Research Journal2017

    All readers of fiction are familiar with one of the most famous openings of any novel: ‘En un lugar de la Mancha, de cuyo nombre no quiero acordarme...’, remembered in part, I suspect, because it is

  • Dossier

    Jo Evans, Breixo ViejoARTICLEBulletin of Spanish Studies2016

    Este dossier introduce y contextualiza la correspondencia entre el cineasta español Luis Buñuel y el comisario de cine austríaco afincado en Nueva York Amos Vogel. Se trata de quince cartas originales fechadas entre 1954 y 1976, nunca antes publicadas en su totalidad, que se incluyen íntegras tras la introducción de los editores. El principal valor del epistolario reside en que aporta información inédita no sólo sobre la relación personal entre a…

  • Postscript

    Jo EvansARTICLEBulletin of Spanish Studies2015

    Notes1 Organized by Magí Crusells (Vice-Director of the Centro de Investigación Film-Historia) with conference secretary Francesc Sánchez Barba, and hosted at the Faculty of Geography and History, Barcelona University, 3–5 September 2014.2 I am thinking in particular here of José María Caparrós Lera, El cine español bajo el régimen de Franco, 1936–1975 (Barcelona: Edicions Univ. de Barcelona, 1983) and El cine español de la democracia: de la muer…

  • Visual British Hispanism and the Puerto del Rosario ‘parque escultórico’

    Jo EvansARTICLEBulletin of Spanish Studies2015

    This essay takes José Ortega y Gasset’s famous comment ‘yo soy yo y mi circunstancia’ and Kaja Silverman’s view that perception is always ‘propped’ on things we have seen before and retraces the ‘circunstancias’ of the development of visual studies within British Hispanism, then considers the making of the ‘parque escultórico’ in the Canary Island of Fuerteventura. Linking the development of the this sculpture park to Unamuno’s exile on the islan…

  • Spanish film criticism

    Jo EvansARTICLEJournal of Iberian & Latin…2014

    The title of the first of these books, Spain on Screen: Developments in Contemporary Spanish Cinema is slightly misleading, because it is not really about the representation of Spain on screen, nor (with the exception of contributions by Rob Stone and Julin Gutirrez-Albilla) is it really about developments in contemporary Spanish cinema.It is, though, a useful and diverse collection of essays from major scholars in the field that opens with Barry…

  • Foundational Myths, Repressed Maternal Metaphors, and Desengaño

    Jo EvansARTICLEHispanic Research Journal2009

    This essay examines the representation of foundational myths and repressed maternal metaphors in Vacas (1992) with reference to Kristeva, Irigaray, Cixous, and feminist theologians Rosemary Radford Ruether, Amy Hollywood, and Pamela Sue Anderson. It argues that Médem's idiosyncratic fusion of Transition mises-en-scène has become an iconic 1990s desengaño text: one that combines the movida focus on masquerade with the nostalgic gaze of the 'cine d…

  • Pudovkin and the Censors

    Jo EvansARTICLEHispanic Research Journal2007

    In the light of Juan Antonio Bardem's appeal for Spanish directors to avail themselves of digital technology to reconstruct a censored Spanish twentieth-century past, this article considers the influence on Bardem of Vsevolod Pudovkin and suggests that, although digital technology allows for an apparently seamless cinematic reconstruction of the past, along the lines of George Clooney's Good Night and Good Luck (2005), the Soviet-style disruption…