The Spanish Adaptation of the Interpersonal Sexual Objectification Scale (ISOS)

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Prevalence and functions of non-suicidal self-injury in Spanish adolescents

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The eudaimonic component of satisfaction with life and psychological well-being in Spanish cultures

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Adaptation and validation in Spanish of the Group Environment Questionnaire (GEQ) with professional football players

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Psychometric properties of the Somatic Complaints Scale in Spanish children and adults

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Adaptation of the Evidence-Based Practices Attitude Scale in Spanish child welfare professionals

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Psychometric evaluation of the Self-Appraisal Questionnaire in a Spanish sample of offenders

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Psychometric properties of the Spanish version of the Passion Scale

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Spanish/English primary integrated curriculum : language and literacy

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Students reflections on pedagogical translation in Spanish as a foreign language

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Applicability of dual-route reading models to Spanish

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Validity and reliability of the Spanish version of the Displaced Aggression Questionnaire

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Language learning strategy use by Spanish EFL students : the effect of proficiency level, gender, and motivation

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Spanish version of the Link???s Perceived Devaluation and Discrimination Scale

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Reliable entertainment: Spanish consumers' preferences regarding a film's country of origin

This article contributes to the study of cinema audiences in Europe by analyzing the actual behavior of Spanish moviegoers and their level of satisfaction. We modeled moviegoers’ choice of film by country of origin (U.S.A., Spain, and other countries) according to a set of determinants: (1) consumers’ interpretation of several sources of information, (2) motivations and (3) choice rules. We found three clear consumer stereotypes related to each type of film: (1) U.S.A. films were preferred by almost everyone (especially families and younger audiences); (2) Spanish films had audiences composed of middle-age and middle-class moviegoers; and (3) European productions were preferred by a social or intellectual elite. U.S.A. films dominate the Spanish market for the reason that they provide most of what moviegoers prefer, namely, familiar, reliable entertainment in Spanish; three characteristics that are not satisfied by Spanish and European films. Additionally, we discuss the implications for the European cultural policy