This edited volume examines the historical, political, cultural, and aesthetic implications of re-visiting Restoration Spain (1874-1931) in television costume dramas produced since 2000. Contributors analyze, from different theoretical approaches and disciplinary perspectives, the appeal that the late nineteenth and early twentieth centuries hold for twenty-first-century Spanish audiences, as well as for international viewers who consume these programs through new media platforms. Themes and issues explored include: the production of televisual heritage, representations of period technologies, evolving constructions of gender, hybridization of television genres, and television as historian. Expanding the scope of inquiry in Spanish media studies, this collection seeks to bring Spain into wider discussions of media and historical representation and visual and material culture in Europe, the Americas, and beyond.

David R. George, Jr. is Senior Lecturer in Spanish at Bates College, USA, focusing on nineteenth and twentieth-century Spanish literature, film, and television. He is co-editor ofHistorias de la pequeña pantalla. Representaciones históricas en la televisión de la España democrática (2009), and author of annotated editions of texts by Leopoldo Alas and Benito Pérez Galdós.

Wan Sonya Tangis Assistant Professor of Hispanic Studies at Boston College, USA.  Her research focuses on Spains modernization process in the late nineteenth and early twentieth centuries, and the cultural anxieties generated therein, particularly with regards to gender and class dynamics.

1. Introduction (David R. George, Jr. and Wan Sonya Tang).- Part I. Producing Heritage.- 2. Fortunatas Long Shadow: the Restoration as Televisual Heritage inAcacias 38andEl secreto de Puente Viejo (David R. George, Jr.).- 3. Profane Unions: Constructing Heritage from Anarchist-Bourgeois Romances inUll per ull andBarcelona, ciutat neutral (Elena Cueto Asín).- Part II. Imagining Technologies.- 4. New Technologies and Transmedia Storytelling in Víctor Ros: Captivating Audiences at the Turn of the Century (Mónica Barrientos-Bueno and Ángeles Martínez-García).- 5. From Photography to Forensics: Technology, Modernity, and the Internationalization of Spanish History inGran Hotel (Wan Sonya Tang).- Part III. Constructing Genders.- 6. Dresses, Cassocks, and Coats: Costuming Restoration Gender Fantasies inLa Señora (2008-2010) (Nicholas Wolters).- 7. Las normas son para romperlas: Emilia Pardo Bazán, Carmen de Burgos, and the Unruly Women ofSeis hermanas (Linda M. Willem).- Part IV. Restoring theTelenovela.- 8.Bandolera: Limits and Possibilities of PeriodTelenovelas (Francisca López).- 9. Creating Locally for a Global Audience:Seis hermanas and the Costume Serial Drama as Quality Television (Concepción Cascajosa Virino).- Part V. Sensing the Ending.- 10. Commercializing Nostalgia and Constructing Memory inAs leis de Celavella (María Gil Poisa).- 11. Felices años veinte? Las chicas del cable and the Iconicity of 1920s Madrid (Leslie J. Harkema).- 12. The End of the Restoration: A Vision from the Early Second Republic in14 de abril. La República (Iván Gómez García).