Literatura y cine (desde esta ladera: la literatura comparada)

Las Batuecas, Las Hurdes and the Spanish Crypt

A little-known book by a minor poet, Emeterio Gutierrez Albelo's Enigma del invitado (1936) has major things to say about spectatorship and modern subjectivity. Its 26 untitled poems chronicle the ...

Cinema, Spectatorship, and Subjectivity in Gutiérrez Albelo's Enigma del invitado (1936)

espanolLa descripcion vanguardista de la isla de Lanzarote que Agustin Espinosa desarrolla en Lancelot, 28°-7° (1929) demuestra que el escritor compartio el mismo interes por el cine que otros jovenes escritores expresaron en sus obras durante los anos veinte. Sin embargo, esta relacion interartistica entre literatura y cine en Lancelot no se ha examinado aun con detenimiento. Por ello, este articulo intentara estudiar las diferentes maneras en las que el cine ha influido en Lancelot, que incluyen no solo referencias a estrellas del cine mudo estadounidense, sino tambien el uso de tecnicas cinematograficas. De esta manera, Espinosa ofrece nuevas imagenes de la isla, ahora fusionada con movimientos artisticos universales. Para analizar este particular uso del bagaje filmico de Espinosa en Lancelot, el articulo estudiara el interes por el cine que el escritor mostro a lo largo de su vida, el modo en el que usa distintas tecnicas filmicas en esta obra, las imagenes poeticas vinculadas con el cine y las referencias a estrellas del cine incluidas en el texto. EnglishThe avant-garde description of the island of Lanzarote that Agustin Espinosa developed in Lancelot, 28°-7° (1929) proves that the writer shared the same interest in cinema that other young writers had expressed in their works during the 20s. However, the interartistic relation between cinema and literature in Lancelot has not been examined carefully yet. For this reason, this paper tries to study the different ways the cinema has influenced Lancelot, which includes not only references to film stars from the Amercian silent cinema, but also using certain film techniques. Thus, Espinosa offers new images of the island, now merged with universal artistic movements. To analyze this particular use of Espinosa’s cinema background in Lancelot, this paper will study the interest in cinema that the writer showed along his life, the way he uses different film techniques, the poetic imagery related to cinema, and the references to film stars included in the text.

/pdf/agustin-espinosa-espectador-del-espacio-insular-la-2t83ve5kuz.pdf

Agustín Espinosa, espectador del espacio insular: la influencia del cine en Lancelot, 28°-7° (1929)

This article studies the presence of cinema in the oeuvre of several twentieth-century Spanish female writers, focusing not only on its aesthetic impact on literary forms – most clearly manifested in the film-inspired themes and resources –, but also on the way those female writers convey their varied and complex experiences as film spectators in their works, leaving critical evidence of their often ambivalent attitude towards mainstream cinematic representation, narrative patterns and cultural configurations.

/pdf/mas-alla-de-la-cinefilia-y-la-mitomania-las-escritoras-a9msnzj6u8.pdf

Más allá de la cinefilia y la mitomanía. Las escritoras españolas ante el cine

This Loving Darkness: The Cinema and Spanish Writers 1920-1936

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This Loving Darkness: The Cinema and Spanish Writers 1920-1936