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200);this.onload=null;this.rel=\u0026#039;stylesheet\u0026#039;\u0022 \/\u003E\n\u003C\/head\u003E\u003Cbody\u003E\u003Cdiv class=\u0022panels-ajax-tab-panel panels-ajax-tab-panel-profile\u0022\u003E\u003Cdiv class=\u0022one-column at-panel panel-display clearfix\u0022 \u003E\n  \u003Cdiv class=\u0022region region-one-main\u0022\u003E\n    \u003Cdiv class=\u0022region-inner clearfix\u0022\u003E\n      \u003Cdiv class=\u0022panel-pane pane-node-content no-title block\u0022\u003E\n  \u003Cdiv class=\u0022block-inner clearfix\u0022\u003E\n    \n            \n    \n    \u003Cdiv class=\u0022block-content\u0022\u003E\n      \u003Carticle id=\u0022article-10508\u0022 class=\u0022node node-artist article odd node-lang-en node-full 1 ia-r clearfix\u0022 role=\u0022article\u0022\u003E\n  \u003Cdiv class=\u0022article-inner\u0022\u003E\n\n    \n    \u003C!----\u003E\n\n    \n    \n    \u003Cdiv class=\u0022node-content\u0022\u003E\n    \u003Cdiv class=\u0022field field-name-field-featured-image field-type-image field-label-hidden view-mode-full view-mode-full\u0022\u003E\n    \u003Cdiv class=\u0022field-items\u0022\u003E\n          \u003Cfigure class=\u0022field-item\u0022\u003E\n        \u003Ca href=\u0022https:\/\/expcinema.org\/site\/sites\/default\/files\/ivanzulueta.jpg\u0022 title=\u0022\u0022 class=\u0022colorbox\u0022 data-colorbox-gallery=\u0022gallery-node-10508-UQwzsjpyZf0\u0022 data-cbox-img-attrs=\u0022{\u0026quot;title\u0026quot;: \u0026quot;\u0026quot;, \u0026quot;alt\u0026quot;: \u0026quot;\u0026quot;}\u0022\u003E\u003Cimg class=\u0022image-style-wiki-profile\u0022 src=\u0022https:\/\/expcinema.org\/site\/sites\/default\/files\/styles\/wiki_profile\/public\/ivanzulueta.jpg?itok=5bPUFofL\u0022 width=\u0022360\u0022 height=\u0022360\u0022 alt=\u0022\u0022 title=\u0022\u0022 \/\u003E\u003C\/a\u003E                   \n               \n              \u003Cfigcaption class=\u0022caption full-caption\u0022\u003E\u003C\/figcaption\u003E\n                                                        \u003C\/figure\u003E\n      \u003C\/div\u003E\n\u003C\/div\u003E\n\u003Cdiv class=\u0022field field-name-body field-type-text-with-summary field-label-hidden view-mode-full view-mode-full\u0022\u003E\u003Cdiv class=\u0022field-items\u0022\u003E\u003Cdiv class=\u0022field-item even\u0022\u003E\u003Cp\u003E\u003Cstrong\u003EJuan Ricardo Miguel Zulueta Vergarajauregui\u003C\/strong\u003E known as \u003Cstrong\u003EIvan Zulueta\u003C\/strong\u003E (September 29 1943 - 30 December 2009) was a designer and film director. His work spanned different fields such as art designer in movies or music# and he was mainly known for writing and directing the film \u003Cem\u003E\u003Ca class=\u0022wikilink\u0022 href=\u0022\/wiki\/work\/Arrebato\/\u0022\u003EArrebato\u003C\/a\u003E\u003C\/em\u003E (\u003Cem\u003ERapture\u003C\/em\u003E), and for designing the posters and promotion of Pedro Almod\u00f3var\u0027s first movies.\u003C\/p\u003E\n\u003Cp\u003E\u003Cstrong\u003E Biography \u003C\/strong\u003E\u003C\/p\u003E\n\u003Ch3\u003EChildhood and early career\u003C\/h3\u003E\n\u003Cp\u003EIvan Zulueta was born \u003Cstrong\u003EJuan Ricardo Miguel\u003C\/strong\u003E due to the Russian origin of that name, which was not allowed by anti-communist Franco dictatorship, in San Sebasti\u00e1n, Basque Country, Spain. His family was wealthy: his father\u2019s family had had sugar factories in Cuba for generations. His father was a lawyer; even though he combined his job with other activities, such as director of the San Sebastian Film Festival. His mother was a painter, even though not professionally. Hence, Ivan was closed to the art in his youth.\u003C\/p\u003E\n\u003Cp\u003EZulueta moved to Madrid in 1960 and enrolled in decoration courses. At the end of 1963, he was offered the opportunity of traveling in a merchant vessel to New York. There, he enrolled in \u003Cem\u003EArts Students League\u003C\/em\u003E for studying oil painting and advertising drawing. Zulueta discovered pop art, Nouvelle Vague, the \u003Ca class=\u0022wikilink\u0022 href=\u0022\/wiki\/work\/New_American_Cinema\/\u0022\u003ENew American Cinema\u003C\/a\u003E and artists such as \u003Ca class=\u0022wikilink\u0022 href=\u0022\/wiki\/work\/Jonas_Mekas\/\u0022\u003EJonas Mekas\u003C\/a\u003E and John Cassavetes.\u003C\/p\u003E\n\u003Cp\u003EComing back to Madrid in 1964, Zulueta enrolled in the Spanish Cinema School. He directed a couple of shorts in 35 mm. The first one, called \u003Cem\u003EAgata\u003C\/em\u003E, based on a short story by Edgar Allan Poe. And the second one, called \u003Cem\u003EIda y Vuelta\u003C\/em\u003E (\u003Cem\u003ERound Trip\u003C\/em\u003E), based on a short story by William Jenkins. However, he did not get his degree and the School was closed by the dictatorship. Zulueta would not be allowed to sign his works until Franco died because of this.\u003C\/p\u003E\n\u003Ch3\u003EPop-art and psychedelic\u003C\/h3\u003E\n\u003Cp\u003EIn 1968, Jose Luis Borau, his teacher in the Film School, produced a TV show called \u003Cem\u003EUltimo Grito\u003C\/em\u003E (\u003Cem\u003ELatest Trends\u003C\/em\u003E). The anchormen were Jose Maria Inigo and Judy Stephen. Ivan Zulueta directed the show. The production means and budget were low. The way of working: friends in different positions and creativity.\u003C\/p\u003E\n\u003Cp\u003EIn 1969, \u003Cem\u003EUn, Dos, Tres, Al Escondite Ingl\u00e9s\u003C\/em\u003E (\u003Cem\u003EHide and Seek\u003C\/em\u003E) was produced. It was Jose Luis Borau\u2019s first work as a producer of a full-length movie. The production was carried the same way as in the TV show \u003Cem\u003EUltimo Grito\u003C\/em\u003E. The film was a musical which made fun of Eurovision contest with a Richard Lester style. It was first released in Cannes Film Festival.\u003C\/p\u003E\n\u003Ch3\u003E70s: experimentation\u003C\/h3\u003E\n\u003Cp\u003EJose Luis Borau provided Zulueta with unused film from his newly-created production company. Zulueta used it for experimenting mainly with tempo and editing. He also used other underground formats like 16mm or 8mm. Most of the time, the experimentation was related to re-fiming preexisting material in other formats and rhythms. This visual style was very popular in those years, used by other directors and achieving a peak with the eminent \u003Cem\u003EKoyaanisqatsi\u003C\/em\u003E (1983). At same time, Zulueta started a prolific career as poster designer.\u003C\/p\u003E\n\u003Cp\u003EIvan met Pedro Almod\u00f3var and helped him in his first underground short movies. Zulueta also worked as assistant director for other directors such as Jaime Chavarri or Antonio Drove.\u003C\/p\u003E\n\u003Cp\u003EIvan Zulueta is proposed to hit other non-underground segments of the public by directing a short movie and releasing it. The result: \u003Cem\u003ELeo Es Pardo\u003C\/em\u003E (\u003Cem\u003ELeo is Dark\u003C\/em\u003E); a short movie recorded with a 16mm camera. It was released in the Berlin Film Festival. Then, Zulueta and his collaborators thought that they could try to put all this experimentation onto a full-length film released as a conventional movie\u2026\u003C\/p\u003E\n\u003Ch3\u003E\u003Cem\u003EArrebato\u003C\/em\u003E (\u003Cem\u003ERapture\u003C\/em\u003E)\u003C\/h3\u003E\n\u003Cp\u003EA Spanish architect interested in movies decided to help Zulueta financially. The planning was a 15-day filming. However, it was shot in real interiors owned by Zulueta and other friends, like Jaime Chavarri; and most of collaborators used drugs like heroin, that drove the planning and the budget to be highly increased. Pedro Almod\u00f3var dubbed one of the female characters, but he was not credited. The relationship between the director and the producer was poorly damaged. Moreover, the film had a lot of problems to be commercially released due to its experimental and underground style; even though the dictatorship had fallen through. It was finally released in 1980. Ivan Zulueta was labeled as a problematic \u003Cem\u003Eauteur\u003C\/em\u003E and \u003Cem\u003EArrebato\u003C\/em\u003E became a cult movie.\u003C\/p\u003E\n\u003Ch3\u003E80s: silence\u003C\/h3\u003E\n\u003Cp\u003EFinally, his heroin addiction forced him to retire temporarily. Living in San Sebasti\u00e1n, he declined offers for new projects in filming industry. On the other hand, Zulueta continued with his career as poster designer. It is in these years when he produced his best known works for Pedro Almodovar, among others. He also started experimenting with photography.\u003C\/p\u003E\n\u003Ch3\u003EThe come-back: \u0027P\u00e1rpados\u0027 \u0026amp; \u0027Ritesti\u0027\u003C\/h3\u003E\n\u003Cp\u003EAt the end of the 80s and the beginning of the 90s, Zulueta directed a couple of episodes for two different TV serials. The first one, called \u201cParpados\u201d (\u201cEyelids\u201d), was a love story between a couple of twins. The second one, called \u201cRitesti\u201d, was a horror story. Both were traced by Zulueta\u2019s style, visual obsessions, circular screenplay, format mixing (film and video) and a fragmented editing which reminded some of David Lynch movies.\u003C\/p\u003E\n\u003Ch3\u003ELatest years\u003C\/h3\u003E\n\u003Cp\u003E By mid-90s, Zulueta came back to the silence. He continued his work designing posters. However, at the beginning of the 2000s, some personalities in the Spanish film industry rediscovered Zulueta\u2019s early work: different expositions (paintings, posters and photography) were organized in different Spanish cities such as Madrid or Barcelona; his films were broadcast on TV and cinema again; his short movies were shown on film festivals and \u003Cem\u003EArrebato\u003C\/em\u003E was first launched on DVD. \u0027Un, Dos, Tres, al Escondite Ingl\u00e9s\u0027 was released on VHS and some of his experimental shorts were launched on a limited DVD release.\u003C\/p\u003E\n\u003Cp\u003EHis death was reported on 30 December 2009.\u003C\/p\u003E\n\u003Cp\u003E\u003Cstrong\u003E Works \u003C\/strong\u003E\u003C\/p\u003E\n\u003Ch3\u003EShort films\u003C\/h3\u003E\n\u003Cp\u003E\u003Cem\u003E1992 \u003Ca class=\u0022wikilink\u0022 href=\u0022\/wiki\/work\/Ritesti\/\u0022\u003ERitesti\u003C\/a\u003E (35 mm, colour 29\u2019) \u003C\/em\u003E1989 \u003Ca class=\u0022wikilink\u0022 href=\u0022\/wiki\/work\/P\u00e1rpados\/\u0022\u003EP\u00e1rpados\u003C\/a\u003E (16 mm, colour, 29\u2019) \u003Cem\u003E1978 \u003Ca class=\u0022wikilink\u0022 href=\u0022\/wiki\/work\/Tea_For_Two\/\u0022\u003ETea For Two\u003C\/a\u003E (super 8, colour, 9\u2019) \u003C\/em\u003E1978 \u003Ca class=\u0022wikilink\u0022 href=\u0022\/wiki\/work\/La_taquillera\/\u0022\u003ELa taquillera\u003C\/a\u003E (super 8, colour) (unfinished) \u003Cem\u003E1976 \u003Ca class=\u0022wikilink\u0022 href=\u0022\/wiki\/work\/Leo_es_pardo\/\u0022\u003ELeo es pardo\u003C\/a\u003E (16 mm (ampliado a 35), colour, 12\u2019) \u003C\/em\u003E1976 \u003Ca class=\u0022wikilink\u0022 href=\u0022\/wiki\/work\/Fiesta\/\u0022\u003EFiesta\u003C\/a\u003E (super 8, colour, 12\u2019) \u003Cem\u003E1976 \u003Ca class=\u0022wikilink\u0022 href=\u0022\/wiki\/work\/El_mensaje_es_facial\/\u0022\u003EEl mensaje es facial\u003C\/a\u003E (super 8, colour, 20\u2019) \u003C\/em\u003E1976 \u003Ca class=\u0022wikilink\u0022 href=\u0022\/wiki\/work\/Complementos\/\u0022\u003EComplementos\u003C\/a\u003E (super 8, colour, 19\u2019) \u003Cem\u003E1976 \u003Ca class=\u0022wikilink\u0022 href=\u0022\/wiki\/work\/A_mal_gam_A\/\u0022\u003EA mal gam A\u003C\/a\u003E (super 8, colour, 33\u2019) \u003C\/em\u003E1975 \u003Ca class=\u0022wikilink\u0022 href=\u0022\/wiki\/work\/Mi_ego_est\u00e1_en_babia\/\u0022\u003EMi ego est\u00e1 en babia\u003C\/a\u003E (super 8, colour, 40\u2019) \u003Cem\u003E1975 \u003Ca class=\u0022wikilink\u0022 href=\u0022\/wiki\/work\/Aquarium\/\u0022\u003EAquarium\u003C\/a\u003E (super 8, colour, 14\u2019) \u003C\/em\u003E1974 \u003Ca class=\u0022wikilink\u0022 href=\u0022\/wiki\/work\/Roma-Brescia-Cannes\/\u0022\u003ERoma-Brescia-Cannes\u003C\/a\u003E (super 8, colour, 24\u2019) \u003Cem\u003E1972 \u003Ca class=\u0022wikilink\u0022 href=\u0022\/wiki\/work\/Masaje\/\u0022\u003EMasaje\u003C\/a\u003E (35mm, blanco y negro, 3\u2019) \u003C\/em\u003E1972 \u003Ca class=\u0022wikilink\u0022 href=\u0022\/wiki\/work\/Frank_Stein\/\u0022\u003EFrank Stein\u003C\/a\u003E (35 mm, blanco y negro, 3\u2019) \u003Cem\u003E1971 \u003Ca class=\u0022wikilink\u0022 href=\u0022\/wiki\/work\/KinKong\/\u0022\u003EKinKong\u003C\/a\u003E (super 8, blanco y negro, 6\u2019) \u003C\/em\u003E1967 \u003Ca class=\u0022wikilink\u0022 href=\u0022\/wiki\/work\/Ida_y_Vuelta\/\u0022\u003EIda y Vuelta\u003C\/a\u003E (35 mm, blanco y negro, 41\u2019) \u003Cem\u003E1966 \u003Ca class=\u0022wikilink\u0022 href=\u0022\/wiki\/work\/\u00c1gata\/\u0022\u003E\u00c1gata\u003C\/a\u003E (35 mm, blanco y negro, 18\u2019) \u003C\/em\u003E1964 \u003Ca class=\u0022wikilink\u0022 href=\u0022\/wiki\/work\/La_fortuna_de_los_Irureta\/\u0022\u003ELa fortuna de los Irureta\u003C\/a\u003E (super 8, colour, 20\u2019)\u003C\/p\u003E\n\u003Ch3\u003EFeature films\u003C\/h3\u003E\n\u003Cp\u003E\u003Cem\u003E1979 \u003Cem\u003E\u003Ca class=\u0022wikilink\u0022 href=\u0022\/wiki\/work\/Arrebato\/\u0022\u003EArrebato\u003C\/a\u003E\u003C\/em\u003E (35 mm, colour, 105\u2019) \u003C\/em\u003E1969 \u003Cem\u003EUn, dos, tres, al escondite ingl\u00e9s\u003C\/em\u003E (35mm, colour, 90\u2019)\u003C\/p\u003E\n\u003Ch3\u003ETelevision\u003C\/h3\u003E\n\u003Cp\u003E* \u003Cem\u003E\u00daltimo grito\u003C\/em\u003E (1968).\u003C\/p\u003E\n\u003Ch3\u003EMovie posters (selection)\u003C\/h3\u003E\n\u003Cp\u003E\u003Cem\u003E \u003Cem\u003EIda y vuelta\u003C\/em\u003E (I. Zulueta, 1967, cortometraje). \u003C\/em\u003E \u003Cem\u003E\u00daltimo grito\u003C\/em\u003E (1968, televisi\u00f3n). \u003Cem\u003E \u003Cem\u003EUn, dos, tres, al escondite ingl\u00e9s\u003C\/em\u003E (I. Zulueta, 1969). \u003C\/em\u003E \u003Cem\u003EGinebra en los infiernos\u003C\/em\u003E (J. Ch\u00e1varri, 1969, cortometraje). \u003Cem\u003E \u003Cem\u003EEstado de sitio\u003C\/em\u003E (J. Ch\u00e1varri, 1971, cortometraje). \u003C\/em\u003E \u003Cem\u003ELa Calle 42\u003C\/em\u003E (Lloyd Bacon, 1933, reposici\u00f3n en el cine California, 1972). \u003Cem\u003E \u003Cem\u003EYellow Submarine\u003C\/em\u003E (G. Dunning, 1968, proyecci\u00f3n en el cine California, 1973). \u003C\/em\u003E \u003Cem\u003ELa ca\u00edda de Sodoma\u003C\/em\u003E (P. Almod\u00f3var, 1975, cortometraje). \u003Cem\u003E \u003Cem\u003EFurtivos\u003C\/em\u003E (J.L. Borau, 1975). \u003C\/em\u003E I Festival de Villabonne-sur-mer (1976). \u003Cem\u003E \u003Cem\u003EThe Bus\u003C\/em\u003E (Bay Okan, 1976). \u003C\/em\u003E \u003Cem\u003EAsignatura pendiente\u003C\/em\u003E (J.L. Garci, 1977). \u003Cem\u003E \u003Cem\u003ECamada negra\u003C\/em\u003E (M. Guti\u00e9rrez Arag\u00f3n, 1977). \u003C\/em\u003E \u003Cem\u003EViridiana\u003C\/em\u003E (L. Bu\u00f1uel, 1961, reestreno, 1977). \u003Cem\u003E XXIV Festival Internacional de Cine de San Sebasti\u00e1n (1977). \u003C\/em\u003E \u003Cem\u003EEl coraz\u00f3n del bosque\u003C\/em\u003E (M. Guti\u00e9rrez Arag\u00f3n, 1978). \u003Cem\u003E \u003Cem\u003ELeo es pardo\u003C\/em\u003E (I. Zulueta, 1978, cortometraje). \u003C\/em\u003E \u003Cem\u003EM\u00e9xico, M\u00e9xico, ra, ra, ra\u003C\/em\u003E (G. Alatriste, 1978). \u003Cem\u003E \u003Cem\u003ESim\u00f3n del desierto\u003C\/em\u003E (L. Bu\u00f1uel, 1965, reestreno, 1978). \u003C\/em\u003E \u003Cem\u003EArrebato\u003C\/em\u003E (I. Zulueta, 1979). \u003Cem\u003E \u003Cem\u003ECuentos er\u00f3ticos\u003C\/em\u003E (E. Bras\u00f3 y otros, 1979). \u003C\/em\u003E \u003Cem\u003EMaravillas\u003C\/em\u003E (M. Guti\u00e9rrez Arag\u00f3n, 1980). \u003Cem\u003E \u003Cem\u003ELa jungla de asfalto\u003C\/em\u003E (J. Huston, 1950, reposici\u00f3n, 1981). \u003C\/em\u003E \u003Cem\u003ELaberinto de pasiones\u003C\/em\u003E (P. Almod\u00f3var, 1982). \u003Cem\u003E \u003Cem\u003EL\u0027Age d\u0027Or\u003C\/em\u003E (L. Bu\u00f1uel, 1930, reposici\u00f3n, 1983). \u003C\/em\u003E \u003Cem\u003EEntre tinieblas\u003C\/em\u003E (P. Almod\u00f3var, 1983). \u003Cem\u003E \u003Cem\u003E\u00bfQu\u00e9 he hecho yo para merecer esto?\u003C\/em\u003E (P. Almod\u00f3var, 1984). \u003C\/em\u003E I Semana de Cine Experimental de Madrid (1991). \u003Cem\u003E \u003Cem\u003EDemasiado coraz\u00f3n\u003C\/em\u003E (E. Campoy, 1992). \u003C\/em\u003E \u003Cem\u003EDime una mentira\u003C\/em\u003E (J.S. Bolla\u00edn, 1992). \u003Cem\u003E \u003Cem\u003ELa vida l\u00e1ctea\u003C\/em\u003E (J. Estelrich, 1992). \u003C\/em\u003E \u003Cem\u003EAtaque verbal\u003C\/em\u003E (M. Albadalejo, 1999). \u003Cem\u003E Ciclo Marlene Dietrich (1999). \u003C\/em\u003E Ciclo Bu\u00f1uel (Zaragoza 2000). \u003Cem\u003E \u003Cem\u003ELeo\u003C\/em\u003E (J.L. Borau, 2000). \u003C\/em\u003E Exposici\u00f3n Kubrick 2001 (San Sebasti\u00e1n, 2001).\u003C\/p\u003E\n\u003Ch3\u003EPaintings and other graphic works (selection)\u003C\/h3\u003E\n\u003Cp\u003E\u003Cem\u003E Painting titled \u0027V\u00edctima\u0027 (1958). \u003C\/em\u003E Watercolour titled \u0027Como al encontrarnos\u0027 (1958). \u003Cem\u003E Watercolour titled \u0027Cuando la hierba crece\u0027 (1958). \u003C\/em\u003E Series of drawings \u0027Nueva York\u0027 (1964). \u003Cem\u003E Album cover \u003Cem\u003EVainica Doble\u003C\/em\u003E (1971). \u003C\/em\u003E Decoration for club \u003Cem\u003EDrugstore Spectros\u003C\/em\u003E (San Sebasti\u00e1n, 1971). \u003Cem\u003E Promotion material for shop \u003Cem\u003ENo\u00e9\u003C\/em\u003E (San Sebasti\u00e1n, 1971). \u003C\/em\u003E Advertising for concerts in \u003Cem\u003ECadarso\u003C\/em\u003E (Madrid, 1973). \u003Cem\u003E Comic-book titled \u0027Supermal\u0027 (1973). \u003C\/em\u003E Series of drawings \u0027Ibiza\u0027 (1973). \u003Cem\u003E Ilustrations for children\u0027s book \u003Cem\u003ELa nueva historia de Peter Pan\u003C\/em\u003E de Juan T\u00e9bar (1973). \u003C\/em\u003E Painting titled \u0027The Habitat Scrapbook Collages\u0027 (1974). \u003Cem\u003E Series of drawings \u0027Marruecos\u0027 (1976). \u003C\/em\u003E Album cover \u003Cem\u003EContracorriente\u003C\/em\u003E (1976) by Vainica Doble. \u003Cem\u003E Publication titled \u003Cem\u003ECine espa\u00f1ol de la Rep\u00fablica\u003C\/em\u003E del XXV Festival Internacional de Cine de San Sebasti\u00e1n (1977). \u003C\/em\u003E Publication titled \u003Cem\u003EDibujo animado espa\u00f1ol\u003C\/em\u003E del XXV Festival Internacional de Cine de San Sebasti\u00e1n (1977). \u003Cem\u003E Publication titled \u003Cem\u003EPasolini\u003C\/em\u003E para el XXV Festival Internacional de Cine de San Sebasti\u00e1n (1977). \u003C\/em\u003E Album cover \u003Cem\u003EBrakaman\u003C\/em\u003E (1977). \u003Cem\u003E Promotion material for music group Negativo (1978). \u003C\/em\u003E Album cover \u003Cem\u003EMu\u00f1eca Hinchable\u003C\/em\u003E (1979) by Orquesta Mondrag\u00f3n. \u003Cem\u003E Drawing \u0027Autorretrato\u0027 (1980). \u003C\/em\u003E Hand programme for XXIX Festival Internacional de Cine de San Sebasti\u00e1n (1981). * Publication titled \u003Cem\u003EHenry d\u0027Abbadie d\u0027Arras\u003C\/em\u003E, XXXVIII Festival Internacional de Cine de San Sebasti\u00e1n (1990).\u003C\/p\u003E\n\u003Ch3\u003EFotography\u003C\/h3\u003E\n\u003Cp\u003E* Series de polaroids retocadas (\u002780s).\u003C\/p\u003E\n\u003Ch3\u003EMusic\u003C\/h3\u003E\n\u003Cp\u003E\u003Cem\u003E OST of Leo Es Pardo (I. Zulueta, 1976). \u003C\/em\u003E OST of Arrebato (I. Zulueta, 1979).\u003C\/p\u003E\n\u003Cp\u003E\u003Cstrong\u003E Related material \u003C\/strong\u003E \u003Cem\u003E \u003Cem\u003EArrebatos\u003C\/em\u003E (Jes\u00fas Mora, 1998), colour. \u003C\/em\u003E \u003Cem\u003EIv\u00e1n Z\u003C\/em\u003E (Andr\u00e9s Duque, 2004), colour, 53\u2019\u003C\/p\u003E\n\u003Cp\u003E\u003Cstrong\u003E External links \u003C\/strong\u003E \u003Cem\u003E \u003Ca href=\u0022http:\/\/www.ivanzulueta.com\u0022\u003EOfficial Ivan Zulueta website\u003C\/a\u003E \u003C\/em\u003E \u003Ca href=\u0022http:\/\/www.imdb.com\/name\/nm0958614\/\u0022\u003EIv\u00e1n Zulueta\u003C\/a\u003E at IMDB.\u003C\/p\u003E\n\u003Cp\u003E\u00a0\u003C\/p\u003E\n\u003C\/div\u003E\u003C\/div\u003E\u003C\/div\u003E\u003Csection class=\u0022field field-name-field-nationality field-type-country field-label-inline clearfix view-mode-full view-mode-full\u0022\u003E\u003Ch2 class=\u0022field-label\u0022\u003ENationality:\u0026nbsp;\u003C\/h2\u003E\u003Cdiv class=\u0022field-items\u0022\u003E\u003Cdiv class=\u0022field-item even\u0022\u003ESpain\u003C\/div\u003E\u003C\/div\u003E\u003C\/section\u003E    \u003C\/div\u003E\n\n          \u003Cnav class=\u0022clearfix\u0022\u003E\u003C\/nav\u003E\n    \n    \n  \u003C\/div\u003E\n\u003C\/article\u003E\n    \u003C\/div\u003E\n\n    \n    \n  \u003C\/div\u003E\n\u003C\/div\u003E\n    \u003C\/div\u003E\n  \u003C\/div\u003E\n\u003C\/div\u003E\n\u003C\/div\u003E\u003Cscript src=\u0022https:\/\/expcinema.org\/site\/sites\/default\/files\/advagg_js\/js__UWPcb-dFIKNMRaI8Dtldc9EKRFR1asHAO8yXpi-RA0Q__FKksr7BiLv_-PIwOA62XSsYR9-TCy3H9SwBNTijA80A__BYJ_raMsbqFpF1SIDoJghyU-ouurldty3Wm9_bVOXTQ.js\u0022\u003E\u003C\/script\u003E\n\u003C\/body\u003E\u003C\/html\u003E"}