Francisco José de Goya y Lucientes (30 March 1746 – 16 April 1828) was a Spanish romantic painter and printmaker regarded both as the last of the Old Masters and the first of the moderns. Goya was a court painter to the Spanish Crown, and through his works was both a commentator on and chronicler of his era. The subversive and imaginative element in his art, as well as his bold handling of paint, provided a model for the work of later generations of artists, notably Manet, Picasso and Francis Bacon.

Biography

Early years

Goya was born in Fuendetodos, Aragón, Spain, in 1746 to José Benito de Goya y Franque and Gracia de Lucientes y Salvador. He spent his childhood in Fuendetodos, where his family lived in a house bearing the family crest of his mother. His father earned his living as a gilder. About 1749, the family bought a house in the city of Zaragoza and some years later moved into it. Goya may have attended school at Escuelas Pias. He formed a close friendship with Martin Zapater at this time, and their correspondence from the 1770s to the 1790s is a valuable source for understanding Goya's early career at the court of Madrid. At age 14, Goya entered apprenticeship with the painter José Luzán. He moved to Madrid where he studied with Anton Raphael Mengs, a painter who was popular with Spanish royalty. He clashed with his master, and his examinations were unsatisfactory. Goya submitted entries for the Royal Academy of Fine Art in 1763 and 1766, but was denied entrance.

He then relocated to Rome, where in 1771 he won second prize in a painting competition organized by the City of Parma. Later that year, he returned to Zaragoza and painted parts of the cupolas of the Basilica of the Pillar (including ''Adoration of the Name of God''), a cycle of frescoes in the monastic church of the Charterhouse of Aula Dei, and the frescoes of the Sobradiel Palace. He studied with Francisco Bayeu y Subías and his painting began to show signs of the delicate tonalities for which he became famous.

Goya married Bayeu's sister Josefa (he nicknamed her "Pepa") on 25 July 1773. This marriage, and Francisco Bayeu's membership of the Royal Academy of Fine Art (from the year 1765) helped Goya to procure work as a painter of designs to be woven by Royal Tapestry Factory. There, over the course of five years, he designed some 42 patterns, many of which were used to decorate (and insulate) the bare stone walls of El Escorial and the Palacio Real del Pardo, the newly built residences of the Spanish monarchs near Madrid. This brought his artistic talents to the attention of the Spanish monarchs who later would give him access to the royal court. He also painted a canvas for the altar of the Church of San Francisco El Grande in Madrid, which led to his appointment as a member of the Royal Academy of Fine Art.

Mid-career

In 1783, the Count of Floridablanca, a favorite of King Carlos III, commissioned Goya to paint his portrait. He also became friends with Crown Prince Don Luis, and spent two summers with him, painting portraits of both the Infante and his family. During the 1780s, his circle of patrons grew to include the Duke and Duchess of Osuna, whom he painted, the King and other notable people of the kingdom. In 1786, Goya was given a salaried position as painter to Charles III. After the death of Charles III in 1788 and revolution in France in 1789, during the reign of Charles IV, Goya reached his peak of popularity with royalty.

In 1789 he was made court painter to Charles IV and in 1799 he was appointed First Court Painter with a salary of 50,000 reales and 500 ducats for a coach. He painted the King and the Queen, royal family pictures, portraits of the Prince of the Peace and many other nobles. His portraits are notable for their disinclination to flatter, and in the case of ''Charles IV of Spain and His Family'', the lack of visual diplomacy is remarkable. Modern interpreters have seen this portrait as satire; it is thought to reveal the corruption present under Charles IV. Under his reign his wife Louisa was thought to have had the real power, which is why she is placed at the center of the group portrait. From the back left of the painting you can see the artist himself looking out at the viewer, and the painting behind the family depicts Lot and his daughters, thus once again echoing the underlying message of corruption and decay.

Goya received orders from many within the Spanish nobility. Among those from whom he procured portrait commissions were Pedro Téllez-Girón, 9th Duke of Osuna and his wife María Josefa Pimentel, 12th Countess-Duchess of Benavente, María del Pilar de Silva, 13th Duchess of Alba (universally known simply as the "Duchess of Alba"), and her husband José María Álvarez de Toledo, 15th Duke of Medina Sidonia, and María Ana de Pontejos y Sandoval, Marchioness of Pontejos.

At some time between late 1792 and early 1793, a serious illness, whose exact nature is not known, left Goya deaf, and he became withdrawn and introspective. During his recuperation, he undertook a series of experimental paintings. His experimental art—that would encompass paintings, drawings as well as a bitter series of aquatinted etchings, published in 1799 under the title ''Caprichos'' – was done in parallel to his more official commissions of portraits and religious paintings. In 1798, he painted luminous and airy scenes for the pendentives and cupula of the Real Ermita (Chapel) of San Antonio de la Florida in Madrid. Many place miracles of Saint Anthony of Padua in the midst of contemporary Madrid.

Later years

French forces invaded Spain in 1808, leading to the Peninsular War of 1808–1814. Goya's involvement with the court of the "Intruder king", Joseph I, the brother of Napoleon Bonaparte, is not known; he did paint works for French patrons and sympathisers, but kept neutral during the fighting. After the restoration of the Spanish king, Ferdinand VII, in 1814, Goya denied any involvement with the French. When his wife Josefa died in 1812, he was processing the war by painting ''The Charge of the Mamelukes'' and ''The Third of May 1808'', and preparing the series of prints later known as ''The Disasters of War'' (''Los desastres de la guerra''). Ferdinand VII returned to Spain in 1814 but relations with Goya were not cordial. He painted portraits of the kings for a variety of organizations, but not for the king himself.

Leocadia Weiss (ne Zorrilla, b. 1790) the artist's maid, younger by 35 years, and distant relative, lived with and cared for Goya after Bayeu's death. She stayed with him in his Quinta del Sordo villa until 1824 with her daughter Rosario. Leocadia was probably similar in features to Goya's first wife Josefa Bayeu, to the extent that one of his well known portraits bears the cautious tilte of ''Josefa Bayeu (or Leocadia Weiss)''.

Not much is known about her beyond her fiery temperament. She was likely related to the Goicoechea family, a wealthy dynasty into which the artist's son, the feckless Javier, had married. It is believed she held liberal political views and was unafraid of expressing them, a fact met with disapproval by Goya's family. It is known that Leocadia had an unhappy marriage with a jeweler, Isideo Weiss, but was separated from him since 1811. Her husband cited "illicit conduct" during the divorce proceedings. She had two children before the marriage dissolved, and bore a third, Rosario, in 1814 when she was 26. Isideo was not the father, and it has often been speculated– although with little firm evidence –that the child belonged to Goya. There has been much speculation that Goya and Weiss were romantically linked, however, it is more likely the affection between them was sentimental.

Goya's works from 1814 to 1819 are mostly commissioned portraits, but also include the altarpiece of Santa Justa and Santa Rufina for the Cathedral of Seville, the print series of "La Tauromaquia" depicting scenes from bullfighting, and probably the etchings of "Los Disparates".

In 1819, with the idea of isolating himself, he bought a country house by the Manzanares river just outside of Madrid. It was known as the ''Quinta del Sordo'' (roughly, "House of the Deaf Man", titled after its previous owner and not after Goya himself). There he created the ''Black Paintings'' with intense, haunting themes, reflective of the artist's fear of insanity, and his outlook on humanity. Several of these, including ''Saturn Devouring His Son'', were painted directly onto the walls of his dining and sitting rooms.

Goya lost faith in or became threatened by the restored Spanish monarchy's anti-liberal political and social stance and left Spain in May 1824 for Bordeaux and then Paris. He travelled to Spain in 1826 in 1826, but returned to Bordeaux where he died in 1828 at the age of 82. He was of Catholic faith and was buried in Bordeaux; in 1919 his remains were transferred to the Royal Chapel of St. Anthony of La Florida in Madrid.

Leocadia was left nothing in Goya's will; mistresses were often omitted in such circumstances, but it is also likely that he did not want to dwell on his mortality by thinking about or revising his will. She wrote to a number of Goya's friends to complain of her exclusion but many of her friends were Goya's and by then old men and had died, or died before they could reply. Largely destitute she moved into rented accommodation and passed on her copy of the ''Caprichos'' for free.

Work

:''See also List of works by Francisco Goya'' Goya painted the Spanish royal family, including Charles IV of Spain and Ferdinand VII. His themathic range extended from merry festivals for tapestry, draft cartoons, to scenes of war and human debasment. This evolution reflects the darkening of his temper. Modern physicians suspect that the lead in his pigments poisoned him and caused his deafness since 1792. Near the end of his life, he became reclusive and produced frightening and obscure paintings of insanity, madness, and fantasy, while the style of the ''Black Paintings'' prefigure the expressionist movement.

Maja

Two of Goya's best known paintings are ''The Nude Maja'' (''La maja desnuda'') and ''The Clothed Maja'' (''La maja vestida)''. They depict the same woman in the same pose, naked and clothed, respectively. Without a pretense to allegorical or mythological meaning, the painting was "the first totally profane life-size female nude in Western art".

The identity of the ''Majas'' are uncertain. The most popularly cited models are the Duchess of Alba, with whom Goya was sometimes thought to have had an affair, and Pepita Tudó, mistress of Manuel de Godoy; Godoy subsequently owned them. Neither theory has been verified, and it remains as likely that the paintings represent an idealized composite. The paintings were never publicly exhibited during Goya's lifetime. They were owned by Manuel de Godoy, the Prime Minister of Spain and a favorite of the Queen, María Luisa. In 1808 all Godoy's property was seized by Ferdinand VII after his fall from power and exile, and in 1813 the Inquisition confiscated both works as 'obscene', returning them in 1836 to the Academy of Fine Arts of San Fernando.

Darker subject matter

In a period of convalescence during 1793–1794, Goya completed a set of eleven small pictures painted on tin; known as ''Fantasy and Invention'', they mark a significant change in his art. They no longer represent the world of popular carnival, but rather a dark, dramatic realm of fantasy and nightmare. ''Yard with Lunatics'' is a horrifying and imaginary vision of loneliness, fear and social alienation, a departure from the rather more superficial treatment of mental illness in the works of earlier artists such as Hogarth. The condemnation of brutality towards prisoners (whether criminal or insane) is the subject of many of Goya’s later paintings.

As he completed ''Yard with Lunatics'', Goya was himself undergoing a physical and mental breakdown. It was a few weeks after the French declaration of war on Spain, and Goya’s illness was developing. A contemporary reported, “the noises in his head and deafness aren’t improving, yet his vision is much better and he is back in control of his balance.” His symptoms may indicate a prolonged viral encephalitis or possibly a series of miniature strokes resulting from high blood pressure and affecting hearing and balance centers in the brain. The triad of tinnitus, episodes of imbalance and progressive deafness is also typical of Ménière's disease. Other postmortem diagnostic assessment points toward paranoid dementia due to unknown brain trauma (perhaps due to the unknown illness which he reported). If this is the case, from here on—we see an insidious assault of his faculties, manifesting as paranoid features in his paintings, culminating in his black paintings and especially ''Saturn Devouring His Sons''.

Caprichos and Tapestry cartoons

In 1799 Goya published a series of 80 prints titled ''Caprichos'' depicting what he described as "the innumerable foibles and follies to be found in any civilized society, and from the common prejudices and deceitful practices which custom, ignorance, or self-interest have made usual".

The dark visions depicted in these prints are partly explained by his caption, "The sleep of reason produces monsters". Yet these are not solely bleak in nature and demonstrate the artist's sharp satirical wit, particularly evident in etchings such as ''Hunting for Teeth''. Additionally, one can discern a thread of the macabre running through Goya's work, even in his earlier tapestry cartoons. Mostly popularist in a rococo style, the cartoons were completed early in his career, when he was largely unknown and actively seeking commissions. In 1774, he was asked, on behalf of the Spanish crown, by the German artist Anton Raphael Mengs, to undertake the series. While designing tapestries was neither prestigious nor well paid, Goya used them, along with his early engravings, to bring himself to wider attention. They afforded his first contact with the Spanish monarchy that was to eventually appoint him court painter.

''The Disasters of War''

In the 1810s, Goya created a set of aquatint prints titled ''The Disasters of War''. Although he did not make known his intention when creating the plates, art historians view them as a visual protest against the violence of the 1808 Dos de Mayo Uprising, the subsequent Peninsular War of 1808–14 and the setbacks to the liberal cause following the restoration of the Bourbon monarchy in 1814. The scenes are singularly disturbing, sometimes macabre in their depiction of battlefield horror, and represent an outraged conscience in the face of death and destruction. They were not published until 1863, 35 years after his death. It is likely that only then was it considered politically safe to distribute a sequence of artworks criticising both the French and restored Bourbons.

The first 47 plates in the series focus on incidents from the war and show the consequences of the conflict on individual soldiers and civilians. The middle series (plates 48 to 64) record the effects of the famine that hit Madrid in 1811–12, before the city was liberated from the French. The final 17 reflect the bitter disappointment of liberals when the restored Bourbon monarchy, encouraged by the Catholic hierarchy, rejected the Spanish Constitution of 1812 and opposed both state and religious reform. Since their first publication, Goya's scenes of atrocities, starvation, degradation and humiliation have been described as the "prodigious flowering of rage"

''Black Paintings''

In later life Goya bought a house, called ''Quinta del Sordo'' ("Deaf Man's House"), and painted many unusual paintings on canvas and on the walls, including references to witchcraft and war. One of these is the famous work ''Saturn Devouring His Son'' (known informally in some circles as ''Devoration'' or ''Saturn Eats His Child''), which displays a Greco-Roman mythological scene of the god Saturn consuming a child, possibly a reference to Spain's ongoing civil conflicts. The series has been described as "the most essential to our understanding of the human condition in modern times, just as Michelangelo's Sistine ceiling is essential to understanding the tenor of the 16th century".

At the age of 75, alone and in mental and physical despair, he completed the work as one of his 14 ''Black Paintings'', all of which were executed in oil directly onto the plaster walls of his house. Goya did not intend for the paintings to be exhibited, did not write of them, and likely never spoke of them. It was not until around 1874, some 50 years after his death, that they were taken down and transferred to a canvas support. Many of the works were significantly altered during the restoration, and in the words of Arthur Lubow what remain are "at best a crude facsimile of what Goya painted." The effects of time on the murals, coupled with the inevitable damage caused by the delicate operation of mounting the crumbling plaster on canvas, meant that most of the murals suffered extensive damage and lost a lot of paint. Today they are on permanent display at the Museo del Prado, Madrid.

Notes

References

Sources

Ciofalo, John J. ''The Self-Portraits of Francisco Goya.'' Cambridge University Press, 2001

Tomlinson, Janis. ''Francisco Goya y Lucientes 1746–1828'.' Phaidon, 1999, 1994.

Buchholz, Elke Linda. ''Francisco de Goya''. Cologne: Könemann, 1999. ISBN 3-8290-2930-6

Connell, Evan S. ''Francisco Goya: A Life''. New York: Counterpoint, 2004. ISBN 1-5824-3307-0

Gassier, Pierre. ''Goya: A Biographical and Critical Study''. New York: Skira, 1955

Havard, Robert. "Goya's House Revisited: Why a Deaf Man Painted his Walls Black". ''Bulletin of Spanish Studies'', Volume 82, Issue 5 July 2005. 615 – 639

Hughes, Robert. ''Goya''. New York: Alfred A. Knopf, 2004. ISBN 0-3945-8028-1

Junquera, Juan José. ''The Black Paintings of Goya‎''. London: Scala Publishers, 2008. ISBN 1-8575-9273-5

Licht, Fred. ''Goya: The Origins of the Modern Temper in Art''. Universe Books, 1979. ISBN 0-8766-3294-0

External links

Goya, the Secret of the Shadows, a documentary film by David Mauas, Spain, 2011, 77'

Ricci-art/com, Paintings by Francisco Goya

(PDF in the Arno Schmidt Reference Library) (PDF in the Arno Schmidt Reference Library)

''Disasters of War'' at all-art.org

Etching series by Goya

Smithsonian Institution exhibit “Legacy: Spain and the United States in the Age of Independence, 1763–1848”, 27 Sept. 2007 – 10 Feb. 2008

Francisco Goya Prints, a Claremont Colleges Digital Library collection from the Pomona College Museum of Art

Nyu.edu, ''The Sleep of Reason''

''The Sleep of Reason'' – article in World&I; Magazine

Francisco de Goya's ''Black paintings''

Category:1746 births Category:1828 deaths Category:People from Campo de Belchite Goya, Francisco Category:Spanish people Category:Deaf painters Category:Spanish people of Basque descent Category:Spanish romantic painters Category:Spanish Roman Catholics Category:Spanish printmakers Category:Royal Order of Spain members Category:Court painters

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name	Santiago Segura Silva
birth name	Santiago Segura Silva
birth date	July 17, 1965
birth place
occupation	film director, screenwriter, producer and actor
website	}}

Santiago Segura Silva (born 17 July 1965) is a Spanish film actor, screenwriter, producer and director.

Santiago was born in the Carabanchel neighbourhood in Madrid. After studying Arts at the Complutense University of Madrid, he decided to pursue a career as a film-maker and in 1989 he directed the short ''Relatos de medianoche'' with a budget of 7000 pesetas (around US$50). In 1992 he went on to direct his first professional short "Evilio", followed with "Perturbado" in 1993.

In 1993 he had a small role in Alex de la Iglesia's film ''Acción mutante''. Two years later he starred in ''El día de la Bestia'', from the same director and that role made him famous in Spain. In 1998 he directed the film that brought him to stardom, ''Torrente: El brazo tonto de la ley'' (1998), in which he also acted as the lead character José Luis Torrente. Its popularity led to a sequel (''Torrente 2: Misión en Marbella'') and a computer game (''Torrente: El juego''). ''Torrente 2: Misión en Marbella'' made €22,838,500 at the Spanish box office, becoming the highest grossing Spanish film of all time. ''Torrente 3: El Protector'', the third film in the series, was released in September 2005. Its advertising campaign parodied ''Batman Begins'', using the phrase "Torrente Acabado" ("Torrente Finished"). Although he declared ''Torrente 3: El Protector'' would be the last of the Torrente series, ''Torrente 4'' was released in 2011.

He has since made his way into American culture by making appearances in movies such as ''Hellboy'', ''Perdita Durango'', ''Agent Cody Banks 2: Destination London'' and ''Blade II''. He also was the dubbing actor for Jack Black's role Eddie Riggs in the European Spanish release of the video game ''Brütal Legend''.

Because of his success, Santiago Segura has become a producer. He owns Amiguetes Entertainment company and has produced ''Promedio Rojo'' (featuring Nicolás López).

Filmography

"Relatos de .anoche" (1989) (short)

"Eduardo" (1990) (short)

"Evilio" (1992) (short)

"El cobrador del gas sólo llama una vez" (1992) (short)

''Acción mutante'' (1993)

"Perturbado" (1993) (short)

"Evilio vuelve" (1994) (short)

''El día de la Bestia'' (1995)

''Killer Barbys'' (1996)

''Perdita Durango'' (1997)

''Torrente: El brazo tonto de la ley'' (1998) (actor, writer and director)

''La niña de tus ojos'' (1998)

''Muertos de risa'' (1999)

''París-Tombuctú'' (1999)

''El corazón del guerrero'' (2000)

''Sabotage!'' (2000)

''Obra maestra'' (2000)

''Torrente 2: Misión en Marbella'' (2001) (actor, writer, director and producer)

''Chica de Río'' (2001)

''Blade II'' (2002)

''Asesino en serio'' (2002) (co-producer)

''El oro de Moscú'' (2003)

''Tiptoes'' (2003)

''Una de zombis'' (2003) (actor and producer)

''Agent Cody Banks 2: Destination London'' (2004)

''Hellboy'' (2004)

''Isi Disi'' (2004)

''Promedio rojo'' (2004) (producer)

''Dí que sí'' (2004)

''El asombroso mundo de Borjamari y Pocholo'' (2004) (actor and producer)

''Torrente 3: El protector'' (2005) (actor, writer, director and producer)

''Isi & Disi, alto voltaje'' (2006)

''Asterix at the Olympic Games'' (2008)

''King Shot'' (2009)

''A Sad Trumpet Ballad'' (2010)

''Torrente 4 Lethal Crisis'' (2011)

''Pa' Habbo'' (2011)

References

External links

Category:1965 births Category:Living people Category:People from Madrid Category:Spanish actors Category:Spanish film actors Category:Spanish film directors Category:Complutense University of Madrid alumni

an:Santiago Segura ca:Santiago Segura Silva de:Santiago Segura es:Santiago Segura ext:Santiago Segura eu:Santiago Segura fr:Santiago Segura gl:Santiago Segura fi:Santiago Segura

name	Jesús Franco
birthname	Jesús Franco Manera
birth date	12 May 1930 (age 81)
birth place	Madrid, Spain
occupation	Director, screenwriter, cinematographer, actor
yearsactive	1959 to present
website	}}

Jesús "Jess" Franco (born 12 May 1930 as Jesús Franco Manera) is a Spanish film director, writer, cinematographer and actor. His career took off in 1961 with his cult classic ''The Awful Dr. Orloff'', which received wide distribution in the United States and England. Though he had some American box office success with ''Necronomicon'' (1967), ''Ninety-Nine Women'' (1968) and his two Christopher Lee films, ''The Bloody Judge'' and ''Count Dracula'', he never achieved wide commercial success. Franco moved from Spain to France in 1970 so that he could make more violent and sexual films, and it was at this point that his career began to go downhill commercially, as he turned to low-budget filmmaking with a heavier accent on adult films. Although he produced a few well-received, low budget horror films in the early 70's (''Dracula vs Frankenstein'', ''Vampyros Lesbos'', ''A Virgin Among the Living Dead''), many people in the industry considered him a porn director due to the huge number of X-rated adult films he began churning out. Franco returned to low-budget horror in a brief comeback period from 1980-1983 (''Bloody Moon'', ''Mondo Cannibale'', ''Oasis of the Zombies''), but after 1983, his career took a second downturn as he drifted back into porn. With the exception of his ''Faceless'' (1988) and ''Killer Barbys'' (1996), his post-1983 films are almost unwatchable due to the incredibly low budgets he was forced to work with. Franco has nevertheless retained a large cult following through the years with his sexually-charged horror films, some of which are regarded as masterpieces by his avid followers. Franco's fans tend to obsessively collect all of his films (both the good and the execrable) and line up for hours at horror conventions for a chance to meet him in person.

Career

Franco has sometimes worked under various pseudonyms, including David Khune and Frank Hollmann. A big fan of jazz music (and a musician himself), many of his pseudonyms are taken from famous jazz musicians, such as Clifford Brown and James P. Johnson. Franco made a half-dozen films starring the Spanish beauty ''Soledad Miranda'', and when she was killed in a tragic automobile accident in 1970, he took a teenage actress named ''Lina Romay'' under his wing and made her his new "star". Since 1971, Romay has been his most often utilized actress, as well as his life companion, soulmate and muse.

Franco's themes often revolved around lesbian vampires, women in prison, surgical horror, sadomasochism, zombies and sexploitation (including several films based on the writings of the Marquis de Sade). Franco also worked in other exploitation film genres, such as cannibal films, spy films, giallo, crime films, science fiction, jungle adventure, exorcist films, war movies, historical dramas and nunsploitation. His main claim to fame is that he has managed to write and direct close to 160 motion pictures in his lifetime, encompassing a wide swath of different genres, with practically no financial backing available to him.

His sex movies often contain long, uninterrupted shots of nude women writhing uncontrollably on the floor or in a bed (such as in ''Lorna The Exorcist'' and ''The Bare-Breasted Countess''). Most of his hardcore films starred his companion Lina Romay, who has admitted to being an exhibitionist. Franco is also notorious for his use of hand-held camera and zoom shots, which he feels actually lends realism to his films.

He has frequently worked with genre actors Howard Vernon, Antonio Mayans, Paul Müller, Christopher Lee, Soledad Miranda, Maria Rohm, Lina Romay and Klaus Kinski. Kinski was famous for his hatred of directors, but according to Franco, he never had any trouble working with him. Franco was supposed to direct a film for Eurocine Productions in 1980 called ''Lake of the Living Dead'' but he could not do it, so producer Daniel Lesouer hired Jean Rollin to direct it (the film was later retitled ''Zombie Lake''). Lesouer then had Rollin direct some brand new zombie footage to be inserted into Franco's ''Virgin Among The Living Dead'' (1971) for its re-release in 1981. (Franco purists today insist that "Virgin" be released in its former unadulterated form on DVD, as the added Jean Rollin footage was of very poor quality.) Franco was later hired by Lesouer to direct a film for Eurocine called ''Oasis of the Zombies'' (1981), which had a plot that was similar to ''Zombie Lake'' (also involving revived Nazi zombies).

Filmography

colspan=4 style="background:LightSteelBlue"	Films
		! Title	! Alternative Title(s)	! Notes
1959	''We Are Eighteen''
rowspan=2>1960	''Red Lips''
''Queen of the Tabarin''
rowspan=2	1961	''Vampiresses 1930''
''The Awful Dr. Orloff''	''Gritos en la Noche'' · ''Screams in the Night''
rowspan=2	1962	''Death Whistles the Blues''	''La Muerte Silba Un Blues''
''The Sadistic Baron Von Klaus''	''Hand of a Dead Man''
rowspan=2	1963	''The Jaguar''	''Sfida Selvaggio/ Savage Challenge''
''Rififi in the City''
1964	''Dr. Orloff's Monster''	''The Secret of Dr. Orloff'' · ''The Mistresses of Dr. Jekyll''
1965	''The Diabolical Dr. Z''	''Miss Muerte'' · ''Miss Death''
rowspan=2	1966	''Attack of the Robots''	''Cards on the Table'' · ''Cards Face Up''
''Residence for Spies''
rowspan=2	1967	''Lucky the Inscrutable''
''Necronomicon''	''Succubus'' · ''Necronomicon Dreamt Sin''
rowspan=7	1968	''Kiss Me, Monster''	''Besame Monstruo''
''Two Undercover Angels''	''Red Lips Sadisterotica''
''The Blood of Fu Manchu''	''Fu Manchu and the Kiss of Death'' · ''Kiss and Kill''
''The Castle of Fu Manchu''
''The Girl from Rio''	''Su-muru'' · ''City Without Men''
''99 Women''
''Marquis de Sade's Justine''	''Deadly Sanctuary''
rowspan=4	1969	''Eugenie, The Story of Her Journey into Perversion''	''Les Inassouvies'' · ''The Insatiable Ones''
''Venus in Furs (1969 film)	Venus in Furs''	''Black Angel'' · ''Paroxismus''
''The Bloody Judge''	''Throne of Fire'' · ''Night of the Blood Monster'' · ''The Witch-Killer of Blackmoor''
''Count Dracula (1970 film)	Count Dracula''
rowspan=9	1970	''Sex Charade''
''Eugenie de Sade 2000''
''Nightmares Come at Night''	''Eyes of the Night''
''Vampyros Lesbos''	''Las Vampiras''
''She Killed in Ecstasy''	''Mrs. Hyde''
''The Devil Came from Akasava''
''The Death Avenger of Soho''	''Death Packs His Suitcase''
''X-312 Flight to Hell''
''The Revenge of Dr. Mabuse''	''The Vengeance of Dr. Mabuse''
rowspan=6	1971	''Virgin Report''	''Jungfrauen Report''
''Robinson and His Wild Slaves''	''Sexy Darlings'' · ''Three Naked Women on Robinson Island''
''Dracula vs Frankenstein''	''Dracula, Prisoner of Frankenstein'' · ''The Screaming Dead''
''A Virgin Among the Living Dead''	''Christina, Princess of Eroticism''
''Lovers of Devil's Island''	''Devil's Island Lovers''
''Daughter of Dracula''
rowspan=8	1972	''The Erotic Rites of Frankenstein''	''The Curse of Frankenstein''
''The Demons''	''She-Demons'' · ''Les Demons'' · ''The Nuns of Clichy''
''Sinner: Diary of a Nymphomaniac''	''Sinner''
''Dolls For Sale''	''The House of Vice'' · ''Vibrating Girls'' · ''Les Ebranlees''
''A Captain of 15 Years''
''Silence of the Grave''	''Un Silencio de Tumba''
''The Sinister Eyes of Dr. Orloff''	''The Eyes of Dr. Orloff''
''Mystery of the Red Castle''
rowspan=10	1973	''The Other Side of the Mirror''	''The Obscene Mirror''
''How to Seduce a Virgin''	''Pleasure for Three'' · ''Beyond the Grave''
''The Bare-Breasted Countess''	''Female Vampire'' · ''Le Comtesse Noire'' · ''The Loves of Irina'' ''The Loves of Irina'' · ''Erotikill'' · ''The Swallowers'' · ''Les Avaleuses''
''Maciste vs. the Amazon Queen''	''Lustful Amazons''
''The Erotic Exploits of Maciste in Atlantis''	''Les Gloutonnes'' · ''The Gobblers''
''Kiss Me Killer''
''Linda's Hot Nights''	''Who Raped Linda?''
''The Perverse Countess''	''Les Croqueuses'' · ''La Comtesse Perverse'' · ''The Munchers''
''Tender and Perverse Emanuelle''
''Relax, Baby''
rowspan=8	1974	''Night of the Skull''	''Sospiri'' · ''Night of the Killers''
''Celestine, Maid at your Service''
''Sexy a Go-Go''
''The Sexiest Man in the World''
''Exorcism and Black Masses''	''Exorcisme''
''Lorna the Exorcist''	''The Devil's Possessed''
''The Ticklish Ones''	''Les Chatouilleuses'' · ''Nuns in Madness''
''The Troublemakers''	''Les Emmerdeuses''
rowspan=11	1975	''Lady Porno''	''Midnight Party''
''Shining Sex''	''The Girl With the Shining Sex''
''Two Women in a Golden Cage''	''Razzia Sur le Plaisir''
''De Sade's Juliette''
''Barbed Wire Dolls''	''Frauengefängnis'' · ''Caged Women''
''Women Behind Bars''	''Diamonds For Hell''
''Downtown: The Naked Dolls of the Underworld''
''The Portrait of Doriana Gray''	''Doriana Gray''
''The Slaves''	''Die Sklavinnen''
''Mandinga''
''White Skin, Black Thigh''
rowspan=10	1977		''Erotico Profondo''
''Love Camp''
''Love Letters of a Portuguese Nun''
''Sexy Sisters''	''Swedish Nympho Slaves''
''Call of the Blonde Goddess''	''Porno Shock''
''Greta the Mad Butcher''	''Ilsa The Wicked Warden'' · ''Ilsa Ultimate Power''
''Wild Lust''
''Women Without Innocence''	''Wicked Women''
''Women in Cellblock Nine''
''Blue Rita''	''Das Frauenhaus'' · ''House of Women''
rowspan=5	1978	''They Do It All		''Elles Font Tout''
''I'm Burning Up All Over''
''Cocktail Special''
''Two Female Spies with Flowered Panties''	''Opal of Fire''
''Erotic Symphony''
rowspan=4>1979	''The Sadist of Notre Dame''	''Demoniac''
''Mondo Cannibale''	''Cannibals'' · ''White Cannibal Queen''
''The Girls of the Copacabana''
''Man Hunter''	''Sexo Canibal'' · ''Devil Hunter'' · ''Mandingo Manhunter''
rowspan=6	1980	''Sex Is Crazy''
''Eugenie: The Story of a Perversion''
''Pick-Up Girls''	''The Girl in the Transparent Panties''
''Sadomania	Sadomania: The Hell of Passion''	''Hellhole Women''
''The Story of Linda''	''Naked Super-Witches of the Rio Amore''
''Bloody Moon''	''Die Sage des Todes'' · ''The Saw of Death'' · ''Profondo Tenebre''
rowspan=6	1981	''Cecilia: Sexual Aberrations of a Married Woman''	''Blue Underground''
''Lake of the Virgins''
''Night of the Open Vaginas''
''The Hotel of Love Affairs''	''The Hotel of Rendez-vous''
''Oasis of the Zombies''	''Abyss of the Living Dead'' · ''Blood-Sucking Nazi Zombies'' · ''Tomb of the Living Dead'' (alternate Spanish-language version)
''Macumba Sexual''
rowspan=10	1982	''Moans of Pleasure''	''Gemidos de Placer''
''The Sexual Story of O''
''Black Boots, Leather Whip''
''The Inconfessable Orgies of Emanuelle''	''Emanuelle Exposed''
''The Sinister Dr. Orloff''	''Macabre Experiments''
''House of Lost Women''
''The Night Has a Thousand Sexes''
''The Intimate Confessions of an Exhibitionist''
''A Buttcrack for Two''
''Mansion of the Living Dead''
rowspan=10	1983	''Lonely Road''	''Camino Solitario''
''Blood on My Shoes''
''Alone Against Terror''
''The Blues of Pop Street''
''Fury in the Tropics''	''Orgasmo Perverso''
''Lillian the Perverted Virgin''
''The Tanga Girls''
''Revenge in the House Of Usher''	''Neurosis''
''The Grandfather, the Countess, and Scarlet the Naughty''	''Scarlet''
''Diamonds of Kilimandjaro''	''Treasure of the White Goddess''
rowspan=8	1984	''The Shadow of Judoka vs. Dr. Wong''
''In Search of the Golden Dragon''
''How Much Does a Spy Cost?''
''Dirty Game in Casablanca''
''White Bay''
''Voices of Death''
''Golden Temple Amazons''
''A Cock for Three''
rowspan=7	1985	''The Last of the Filipinas''
''Bangkok: Appointment with Death''
''Travel to Bangkok, Coffin Included''
''The White Slave''
''Lulu's Talking Butthole''
''Lulu's Pacifier''
''The Game Walks Among Whistles''
rowspan=8	1986	''Slaves of Crime''
''The Girl with the Red Lips''
''The Suckers''	''Las Chuponas''
''For Babies, Warm Milk''
''The Watcher and the Exhibitionist''
''Bragueta Story''
''AIDS, the 20th Century Plague''
''Tribulations of a Cross-eyed Buddha''
rowspan=3	1987	''Phollastia''
''Falo Crest''
''Dark Mission: Operation Cocaine''	''Flowers of Evil''
1988		''Predators of the Night''
rowspan=2	1989	''Esmeralda Bay''
''The Fall of Eagles''	''War Song''
1990	''Downtown Heat: Ciudad Baja''	''Viper's Point''
1992	''Don Quijote''
1994	''Jungle of Fear''
1996
rowspan=3	1998	''Tender Flesh''
''Lust for Frankenstein''
''Mari-Cookie and the Killer Tarantula in 8 Legs to Love You''
rowspan=4	1999	''Vampire Blues''
''Red Silk''
''Dr. Wong's Virtual Hell''
''Broken Dolls''
rowspan=2	2000	''Helter Skelter''
''Blind Target''
2001	''Vampire Junction''
2002	''Jess Franco's Incubus''
2003
rowspan=3	2005	''Flowers of Perversion''
''Flowers of Passion''
''Snakewoman''
2008	''A Bad Day at the Cemetery''	''Crypt of the Cursed Women''
2010	''Paula-Paula: an Audiovisual Experience''

Further reading

Jess Franco, ''Memorias del tío Jess'' (2004) (autobiography, in Spanish)

Stéphane du Mesnilot, ''Jess Franco - Énergies du fantasme'' (2004, in French)

Alain Petit, ''Manacoa Files'' (1994–1999, in French)

Lucas Balbo, Peter Blumenstock, Christian Kessler, Tim Lucas, ''Obsession - The Films of Jess Franco'' (1993)

Tim Lucas, ''How to Read a Franco Film'', in ''Video Watchdog n. 1'' (1990) Article

The book ''Immoral Tales: European Sex & Horror Movies 1956-1984'' (1994) by Cathal Tohill and Pete Tombs dedicates a chapter to him.

Benedikt Eppenberger, Daniel Stapfer ''Maedchen, Machos und Moneten: Die unglaubliche Geschichte des Schweizer Kinounternehmers Erwin C. Dietrich.'' Mit einem Vorwort von Jess Franco. Verlag Scharfe Stiefel, Zurich, 2006, ISBN 3-033-00960-3

Robert Monell, ''Il codice segreto di Jesus Franco'', in ''Nocturno Dossier n. 60'', luglio 2007

External links

http://www.santoandfriends.com (Hispanic horror film index)

Category:1930 births Category:Living people Category:Spanish film directors Category:Spanish film producers Category:Spanish cinematographers Category:Horror film directors

ca:Jesús Franco Manera da:Jesús Franco de:Jess Franco es:Jesús Franco eo:Jesús Franco fr:Jesús Franco gl:Jesús Franco id:Jesús Franco it:Jesús Franco nl:Jesús Franco ja:ジェス・フランコ pt:Jesús Franco ru:Франко, Хесус sk:Jess Franco fi:Jesús Franco sv:Jess Franco zh:傑斯·佛朗哥

name	Mike Wallace
birthname	Myron Leon Wallace
birth date	May 09, 1918
birth place	Brookline, Massachusetts, US
occupation	Journalist
alias	"Mike"
spouse
credits	''60 Minutes''
url	}}

Myron Leon "Mike" Wallace (born May 9, 1918) is an American journalist, former game show host, actor, and media personality. During his 60+ year career, he has interviewed a wide range of prominent newsmakers.

Wallace was one of the original correspondents for CBS' ''60 Minutes'' which debuted in 1968. Wallace retired as a regular full-time correspondent in 2006, but still appeared occasionally on the series until 2008.

Early life

Wallace, whose family's surname was originally Wallechinsky, was born in Brookline, Massachusetts to Russian Jewish parents Zina (Sharfman) and Frank Wallace, a wholesaler grocer and insurance broker. In Brookline, he attended Brookline High School, graduating in 1935. He went on to the University of Michigan, graduating in 1939 with a Bachelor of Arts degree. While at Michigan he reported for the ''Michigan Daily'' and was a member of the Alpha Gamma Chapter of the Zeta Beta Tau Fraternity.

Career

Wallace appeared as a guest on the popular radio quiz show ''Information Please'' on February 7, 1939, while still a senior at the University of Michigan. His first job in radio was as newscaster and continuity writer for WOOD Radio in Grand Rapids, Michigan. This job lasted until 1940 when he joined WXYZ Radio in Detroit, Michigan as an announcer. He then went on to become a freelance radio worker in Chicago, Illinois.

Wallace joined the U.S. Navy in 1943, serving as a communications officer during World War II aboard the USS ''Anthedon'', a submarine tender. He saw no live fire in almost three years, traveling to Hawaii, Australia, and Subic Bay in the Philippines and patrolling the South China Sea, the Philippine Sea and in waters south of Japan. After the war, he returned to Chicago.

Early in his career, Wallace announced for the radio action shows ''Ned Jordan'', ''Secret Agent'', ''Sky King'' and ''The Green Hornet''. It is sometimes reported that Wallace announced for ''The Lone Ranger'', but Wallace says he did not.

Mike Wallace also announced wrestling in Chicago in the late 1940s and early 1950s. The advertiser was Tavern Pale beer.

By the late 1940s Wallace was a staff announcer for the CBS radio network. He had a rare chance to display his comic skills when he appeared opposite Spike Jones in dialogue routines. He was also the voice representing Elgin-American in their commercials on Groucho Marx's ''You Bet Your Life'' during 1949.

In 1949, under his birth name Myron Wallace, he starred in the short-lived police drama ''Stand By for Crime''.

During the 1950s, Wallace hosted a number of game shows, including ''The Big Surprise'', ''Who's the Boss?'' and ''Who Pays?''. Early in his career Wallace was not known primarily as a news broadcaster. It was not uncommon during that period for ''newscasters'' (the term then used) to announce, do commercials and host game shows; Douglas Edwards, John Daly, John Cameron Swayze, and Walter Cronkite hosted game shows as well. Wallace also hosted the pilot episode for ''Nothing but the Truth'', which was helmed by Bud Collyer when it aired under the title, ''To Tell the Truth''. Wallace occasionally served as a panelist on ''To Tell the Truth'' in the 1950s. He also did commercials for a variety of products, including Procter & Gamble's Fluffo brand shortening.

Wallace also hosted two late-night interview programs, ''Night Beat'' (broadcast in New York during 1955-57, only on DuMont's WABD) and ''The Mike Wallace Interview'' on ABC in 1957-58. See also ''Profiles in Courage'', section: Authorship controversy.

By the early 1960s, Wallace's primary income came from commercials for Parliament cigarettes, touting their "man's mildness" (he had a contract with Philip Morris to pitch their cigarettes as a result of their original sponsorship of ''The Mike Wallace Interview''). He hosted a New York based nightly interview program for Metropolitan Broadcasting stations (MetroMedia) called PM East one hour; it was paired with PM West, 30 minutes, hosted by ''San Francisco Chronicle'' television critic Terrence O'Flaherty. Also in the early 1960s, he was the host of the David Wolper produced ''Biography'' series. After his elder son's death, however, Wallace decided to get back into news, and hosted an early version of ''The CBS Morning News'', from 1963 through 1966. In 1964 he interviewed Malcolm X who, half jokingly commented "I probably am a dead man already".

His career as the lead reporter on ''60 Minutes'' naturally led to some run-ins with the people interviewed. While interviewing Louis Farrakhan, Wallace alleged that Nigeria is the most corrupt country in the world. Farrakhan immediately shot back, declaring "Nigeria didn't bomb Hiroshima or slaughter millions of Indians!" "Can you think of a more corrupt country?" asked Wallace. "I am living in one," said Farrakhan. Wallace expressed regret in regard to the one big interview he was never able to secure: First Lady Pat Nixon.

On March 14, 2006, Wallace announced his retirement from ''60 Minutes'' after 37 years with the program. He continued working for CBS News as a "Correspondent Emeritus", albeit at a reduced pace. In August 2006 Wallace interviewed Iranian President Mahmoud Ahmadinejad. Wallace's last CBS interview to date was with retired baseball star Roger Clemens in January 2008 on "60 Minutes." Wallace has suffered from health problems more recently and in June 2008 his son Chris said that his father would not be returning to television.

Awards

Wallace's professional honors include at least 20 Emmy Awards, among them a report just weeks before the 9/11 terrorist attacks for an investigation on the former Soviet Union's smallpox program and concerns about terrorism. He has also won three Alfred I. duPont-Columbia University Awards, three George Foster Peabody Awards, a Robert E. Sherwood Award, a Distinguished Achievement Award from the University of Southern California School Of Journalism and a Robert F. Kennedy Journalism Award in the international broadcast category. In September 2003, Wallace received a Lifetime Achievement Emmy, his 20th. Most recently, on October 13, 2007 Wallace was awarded the University of Illinois Prize for Lifetime Achievement in Journalism.

Criticism

Wallace interviewed Gen. William Westmoreland for the CBS special ''The Uncounted Enemy: A Vietnam Deception'', aired January 23, 1982. Westmoreland then sued Wallace and CBS for libel. In February 1985, the parties settled just before the case was to go to trial. Each side agreed to pay its own costs and attorney's fees and CBS issued a clarification of its intent with respect to the original story.

In a 1967 on ''CBS Reports: The Homosexuals'', Wallace said the following: "This much is certain. Male homosexuals in America number in the millions. And their number is growing. They are attracted mostly to the anonymity that a big city gives them. New York, Chicago, Los Angeles, San Francisco. The permissiveness and the variety of the city draw them. The average homosexual if there be such, is promiscuous. He is not interested in or capable of a lasting relationship like that of a heterosexual marriage. His sex life, his love life, consists of a series of chance encounters at the clubs and bars he inhabits, and even on the streets of the city. The one-night stand is a characteristic of the homosexual relationship...."

For his part, anchor Mike Wallace came to regret his participation in the episode. "I should have known better," he said in 1992. Speaking in 1996, Wallace stated, "That is—God help us—what our understanding was of the homosexual lifestyle a mere twenty-five years ago because nobody was out of the closet and because that's what we heard from doctors—that's what Socarides told us, it was a matter of shame." As recently as 1995, Wallace told an interviewer that he believed homosexuals could change their orientation if they really wanted to.

Fictional portrayals

Wallace was played by actor Christopher Plummer in the 1999 feature film, ''The Insider''. The screenplay was based on the ''Vanity Fair'' article, "The Man Who Knew Too Much" by Marie Brenner, which accused Wallace of capitulating to corporate pressure to kill a story about Jeffrey Wigand, a whistle-blower trying to expose Brown & Williamson's dangerous business practices. Wallace, for his part, disliked his on-screen portrayal and maintains he was in fact very eager to have Wigand's story aired in full.

Wallace was played by actor Stephen Rowe in the stage version of ''Frost/Nixon'', but he was omitted from the screenplay of the 2008 film adaptation.

In the TV movie ''Hefner: Unauthorized'' from 1999, Wallace is portrayed by Mark Harelik. In the 1957 film ''A Face In The Crowd'', Wallace portrays himself.

Autobiographies

''Close Encounters: Mike Wallace's Own Story''. New York: William Morrow, 1984. ISBN 0-688-01116-0. (co-written with Gary Paul Gates)

''Between You and Me: A Memoir''. New York: Hyperion, 2005. (co-written with Gary Paul Gates)

See also

''The Mike Wallace Interview''

*''Profiles in Courage'' authorship controversy on ''The Mike Wallace Interview''

''Raising Hell: How the Center for Investigative Reporting Gets the Story'' (foreword)

''Westmoreland v. CBS''

''The Hate That Hate Produced''

Notes

References

Alwood, Edward (1996). ''Straight News''. New York, Columbia University Press. ISBN 0231084374.

Kaiser, Charles (1997). ''The Gay Metropolis 1940–1996''. New York, Houghton Mifflin. ISBN 0395657814.

External links

The Museum of Broadcast Communications profile

Media Research Center, a right wing website, criticism of Wallace

The Mike Wallace Interview archives of his New York interview show from the late 1950s. Hosted by the Harry Ransom Center at the University of Texas at Austin.

Category:1918 births Category:60 Minutes correspondents Category:American Jews Category:American people of Russian-Jewish descent Category:American military personnel of World War II Category:American television journalists Category:American newspaper reporters and correspondents Category:American game show hosts Category:Living people Category:University of Michigan alumni Category:Radio personalities from Detroit, Michigan Category:Westinghouse Broadcasting Category:People from Brookline, Massachusetts

da:Mike Wallace (journalist) de:Mike Wallace es:Mike Wallace it:Mike Wallace he:מייק וולאס no:Mike Wallace zh:迈克·华莱士

name	Elena Anaya
birth date	July 17, 1975
birth place	Palencia, Castilla y León, Spain }}

Elena Anaya (born July 17, 1975, Palencia, Spain) is a Spanish actress whose career dates back to 1995.

Anaya is the youngest of 5 children. She first received international attention in 2001 for her role in the sexually explicit drama ''Lucía y el sexo'' (''Sex and Lucía'') and also appeared in Pedro Almodóvar's ''Hable con ella'' (''Talk to Her'').

Her best-known Hollywood film role was as a vampire in 2004's ''Van Helsing'', playing Dracula's bride, Aleera. She is also featured in Justin Timberlake's music video for his 2006 single, ''SexyBack''.

In 2004, she was named as one of European films' Shooting Stars by European Film Promotion.

After some 'quiet' years playing supporting roles in such international films as "Savage Grace" and "Cairo Time", she roared back into prominence with the co-lead in the provocative "Room in Rome" in 2010 and then a return to Almodovar in "The Skin I Live In" in 2011.

Filmography

Year !! Title !! Directed by
rowspan="1"	2011	''The Skin I Live In''	Pedro Almodóvar
rowspan="2"	2010	''Room in Rome''
''Point Blank (2010 film)	Point Blank''	Fred Cavayé
rowspan="2"	2009	Hierro (film)>Hierro''
''Cairo Time''	Ruba Nadda
rowspan="2"	2008	''Sólo quiero caminar''
''Mesrine: L'Instinct De Mort''	Jean-François Richet
rowspan="3"	2007	''Savage Grace''
''Miguel & William''	Inés París
''In the Land of Women''	Jon Kasdan
rowspan="2"	2006	''Alatriste''
''Stage Kiss''	Eduardo Carrillo
rowspan="2"	2005	Fragile (2005 film)>Fragile''
''Dead Fish''	Charley Stadler
rowspan="2"	2004	Van Helsing (film)>Van Helsing''
''Ana y Manuel''	Manuel Calvo Margallo
2003 in film	2003	''Dos tipos duros''
rowspan="4"	2002	''Sin noticias de Dios''
''La habitación azul''	Walter Doehner
''Rencor''	Luis Miguel Albaladejo
''Hable con ella''	Pedro Almodóvar
2001 in film	2001	Lucía y el sexo'' >
rowspan="2"	2000	''El árbol del penitente''
''El invierno de las anjanas''	Pedro Telechea
1999 in film	1999	''Las huellas borradas''
rowspan="2"	1998	''Finisterre, donde termina el mundo''
''Lágrimas negras''	Fernando Bauluz
rowspan="2"	1997	''Grandes ocasiones''
''Familia (1997 film)	Familia''	Fernando León de Aranoa
1996 in film	1996	África (film)>África''

Awards and Nominations

Best Supporting Actress Barcelona Film AwardsGoya Awards

Year
rowspan="2">2002 in film	2002	Goya Awards	|	''Lucía y el sexo'' (2002)
Spanish Actors Union	Film: Supporting Performance
2006 in film	2006	|	Best Actress	Fragile (2005 film)>Fragile (2005)
2010 in film	2010	|	Best Actress	''Room in Rome (2010)

External links

Elena Anaya's official website

Category:1975 births Category:Living people Category:People from Palencia Category:Spanish film actors

ca:Elena Anaya de:Elena Anaya es:Elena Anaya eu:Elena Anaya fr:Elena Anaya gl:Elena Anaya ko:엘레나 아나야 id:Elena Anaya it:Elena Anaya nl:Elena Anaya ja:エレナ・アナヤ ru:Анайя, Елена uk:Елена Аная