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Dr. Erin K. Hogan

Dr. Erin K. Hogan is an Associate Professor of Spanish at the University of Maryland Baltimore County (UMBC).

Dr. Hogan’s research specializes in contemporary Iberian cultural production with particular interest in the child as biopolitical figure, gynocentric filmic representations of and by women, and the uses of comedy and social satire. Her broader areas of inquiry span time, place, discipline, and media from 17th century Spain to contemporary Latin American and transnational screen arts, intercultural pedagogy, and videographic criticism.




Film and Society in Spain

Film and Society in Latin America

The Biopolitics of the Children of Franco in Film and Literature

The Dark Comedy in the Arts of Spain

Contemporary Spanish Literature

Don Quijote

Humanities Seminar (co-taught) on Political Childhood and Children’s Political Citizenship in Western Culture

300-level Advanced Spanish Language

300-level Textual Analysis





The Two cines con niño: Genre and the Child Protagonist in Over Fifty Years of Spanish Film (1955-2010)



Don Quixote, Sweded by Michel Gondry in Be Kind Rewind (2008),” Open Cultural Studies, 1.1 (2017): 454-467. Retrieved 5 Jan. 2018, from doi:10.1515/culture-2017-0042

“The Street Smarts of Children from Peronist Cinema’s Toscanito and Adrianita to Crónica de un niño solo (Favio 1965).” El ojo que piensa 14 (January-June 2017): 7-19.

“Listening to the Pain of Others: Transnational Trauma in Isabel Coixet’s The Secret Life of Words (2005),” In Scars and Wounds: Film and Legacies of Trauma, Palgrave MacMillan (2017): 149-167.

“A Politics of Listening in Isabel Coixet’s Escuchando al juez Garzón/Listening to Judge Garzón (2011),” International Journal of Iberian Studies 29.1 (2016): 65-79.

“Queering Post-war Childhood: Black Bread (Pa negre, Agustí Villaronga, Spain 2010).” Hispanic Research Journal Screen Arts IV 17.1 (March 2016): 1-18.

“’She must have another language’: the Otherness of Childhood in Paraíso inhabitado by Ana María Matute.” Otherness in Hispanic Culture. Newcastle upon Tyne: Cambridge Scholars Publishing, 2014. 350-364.

“The Voice, Body and Ventriloquism of Marisol in Tómbola (Lucía, 1962).” Studies in Spanish and Latin-American Cinemas 10.1 (2013): 101-115.

“Boyhood, Abuse, and Adult Intervention in The 400 Blows (Truffaut 1959), Small Change (Truffaut 1976), and Pellet (Mañas 2000).” Red Feather Journal: An International Journal of Children’s Visual Culture 4.1 (2013): 28-43.

“A Humoristic Look at the Housing Problem in Contemporary Spanish Cinema: El pisito (Ferreri 1959) and La comunidad (De la Iglesia 2000).” Proceedings of II International Conference on History, Literature, and Art in Spanish and Portuguese-language cinema: from it’s Origins to the 21st century’s Technological Revolution, June 26-28, 2013. Ed. Emma Camarero Calandria and María Marcos Ramos. Salamanca: Universidad de Salamanca, 2013. 205-215.

“The Disasters of the Civil War: from Goya to the empirical exercise of childhood perception in They Still Draw Pictures!” in Idealism, Rationalism and Empiricism in Hispanic Culture. Ed. Ricardo de la Fuente Ballesteros. Valladolid: Universitas Castellae (2013).

Tomando partido: Soccer and Political Opposition in O Ano em Que Meus Pais Saíram de Férias (Cao Hamburger 2006) and Paisito (Ana Díez 2008).” Transnationality in the Luso-Hispanic World (Fall 2012).

“In hard times consult proverbs/ En tus apuros y afanes, pide consejo a los refranes: Popular Wisdom in Mateo Alemán’s Guzmán de Alfarache,” Proverbium 25 (2008): 111-127.