CINXE.COM

<!DOCTYPE html><html><head><title>Literary Adaptations in Spanish Cinema - Sally Faulkner - Google Books</title><link rel="stylesheet" href="/books/css/_a33f2a89320471e58c940b9287b9d4eb/kl_viewport_kennedy_full_bundle.css" type="text/css" /><link rel="stylesheet"href="https://fonts.googleapis.com/css2?family=Product+Sans:wght@400"><script src="/books/javascript/v2_a33f2a89320471e58c940b9287b9d4eb__en.js"></script><script>_OC_Hooks = ["_OC_Page", "_OC_SearchReload", "_OC_TocReload", "_OC_EmptyFunc", "_OC_SearchPage", "_OC_QuotePage" ];for (var _OC_i = 0; _OC_i < _OC_Hooks.length; _OC_i++) {eval("var " + _OC_Hooks[_OC_i] + ";");}function _OC_InitHooks () {for (var i = 0; i < _OC_Hooks.length; i++) {var func = arguments[i];eval( _OC_Hooks[i] + " = func;");}}</script><link rel="canonical" href="https://books.google.com/books/about/Literary_Adaptations_in_Spanish_Cinema.html?id=yeMgJsea3-8C"/><meta property="og:url" content="https://books.google.com/books/about/Literary_Adaptations_in_Spanish_Cinema.html?id=yeMgJsea3-8C"/><meta name="title" content="Literary Adaptations in Spanish Cinema"/><meta name="description" content="New readings of 20th-century literary cinematic texts are presented here in historical context, informed by cultural theory. New readings of literary and cinematic texts are presented here in historical context, informed by cultural theory. In her survey of the history of Spanish cinema in the dictatorship and democratic periods, the author argues thatstudies of adaptations must simultaneously address questions of 'text' - formal issues central to the study of film and literature - and 'context' - ideological concerns crucial to late twentieth-century Spain. She examines threethemes of particular importance to contemporary Spanish culture - the recuperation of history, the negotiation of the rural and the urban, and the representation of gender - and considers the related stylistic issues of the affinities between cinematic expression and nostalgia, the city and phallocentrism. The study concludes with an analysis of the formal question of the narrator in film and literature, through an assessment of Buñuel's previously unacknowledged stylistic debt to Galdós as manifested in his adaptations of Nazarín and Tristana. SALLY FAULKNER is Lecturer in Hispanic Studies at the University of Exeter."/><meta property="og:title" content="Literary Adaptations in Spanish Cinema"/><meta property="og:type" content="book"/><meta property="og:site_name" content="Google Books"/><meta property="og:image" content="https://books.google.com.sg/books/content?id=yeMgJsea3-8C&printsec=frontcover&img=1&zoom=1&edge=curl&imgtk=AFLRE70HMmAMBLh7zt9bgO2xWAF-nMksTCBtnSwWY0tSTA2BZ7qmkxrO07YPz1KnlamJvLVKa5TraVv6Bho9o1UnGmoIrgi5HYauiJiLpj4B_91XnMqvm8Kb2eT3GV2QqDO2yh5pDmOO"/><link rel="image_src" href="https://books.google.com.sg/books/content?id=yeMgJsea3-8C&printsec=frontcover&img=1&zoom=1&edge=curl&imgtk=AFLRE70HMmAMBLh7zt9bgO2xWAF-nMksTCBtnSwWY0tSTA2BZ7qmkxrO07YPz1KnlamJvLVKa5TraVv6Bho9o1UnGmoIrgi5HYauiJiLpj4B_91XnMqvm8Kb2eT3GV2QqDO2yh5pDmOO"/><script></script><style>#gbar,#guser{font-size:13px;padding-top:1px !important;}#gbar{height:22px}#guser{padding-bottom:7px !important;text-align:right}.gbh,.gbd{border-top:1px solid #c9d7f1;font-size:1px}.gbh{height:0;position:absolute;top:24px;width:100%}@media all{.gb1{height:22px;margin-right:.5em;vertical-align:top}#gbar{float:left}}a.gb1,a.gb4{text-decoration:underline !important}a.gb1,a.gb4{color:#00c !important}.gbi .gb4{color:#dd8e27 !important}.gbf .gb4{color:#900 !important} #gbar { padding:.3em .6em !important;}</style></head><body class=""><div id=gbar><nobr><a target=_blank class=gb1 href="https://www.google.com.sg/search?tab=pw">Search</a> <a target=_blank class=gb1 href="https://www.google.com.sg/imghp?hl=en&tab=pi">Images</a> <a target=_blank class=gb1 href="https://maps.google.com.sg/maps?hl=en&tab=pl">Maps</a> <a target=_blank class=gb1 href="https://play.google.com/?hl=en&tab=p8">Play</a> <a target=_blank class=gb1 href="https://www.youtube.com/?tab=p1">YouTube</a> <a target=_blank class=gb1 href="https://news.google.com/?tab=pn">News</a> <a target=_blank class=gb1 href="https://mail.google.com/mail/?tab=pm">Gmail</a> <a target=_blank class=gb1 href="https://drive.google.com/?tab=po">Drive</a> <a target=_blank class=gb1 style="text-decoration:none" href="https://www.google.com.sg/intl/en/about/products?tab=ph"><u>More</u> »</a></nobr></div><div id=guser width=100%><nobr><span id=gbn class=gbi></span><span id=gbf class=gbf></span><span id=gbe></span><a target=_top id=gb_70 href="https://www.google.com/accounts/Login?service=print&continue=https://books.google.com.sg/books%3Fid%3DyeMgJsea3-8C%26q%3Dvisual%26source%3Dgbs_word_cloud_r%26hl%3Den&hl=en&ec=GAZACg" class=gb4>Sign in</a></nobr></div><div class=gbh style=left:0></div><div class=gbh style=right:0></div><div role="alert" style="position: absolute; left: 0; right: 0;"><a href="https://books.google.com.sg/books?id=yeMgJsea3-8C&q=visual&source=gbs_word_cloud_r&hl=en&output=html_text" title="Screen reader users: click this link for accessible mode. Accessible mode has the same essential features but works better with your reader."><img border="0" src="//www.google.com/images/cleardot.gif"alt="Screen reader users: click this link for accessible mode. Accessible mode has the same essential features but works better with your reader."></a></div><div class="kd-appbar"><h2 class="kd-appname"><a href="/books">Books</a></h2><div class="kd-buttonbar left" id="left-toolbar-buttons"><a id="appbar-view-print-sample-link" href="https://books.google.com.sg/books?id=yeMgJsea3-8C&printsec=frontcover&vq=visual&source=gbs_vpt_read"></a><a id="appbar-view-ebook-sample-link" href=""></a><a id="appbar-patents-prior-art-finder-link" href=""></a><a id="appbar-patents-discuss-this-link" href="" data-is-grant=""></a><a id="appbar-read-patent-link" href=""></a><a id="appbar-download-pdf-link" href=""></a></div><div class="kd-buttonbar right" id="right-toolbar-buttons"></div></div><div style="display: none"><ol id="ofe-gear-menu-contents" class="gbmcc"><li class="gbe gbmtc"><a class="gbmt goog-menuitem-content" id="" href="https://www.google.com/accounts/Login?service=print&continue=https://books.google.com.sg/books%3Fop%3Dlibrary&hl=en">My library</a></li><li class="gbe gbmtc"><a class="gbmt goog-menuitem-content" id="" href="http://books.google.com.sg/support/topic/4359341?hl=en-SG">Help</a></li><li class="gbe gbmtc"><a class="gbmt goog-menuitem-content" id="" href="https://books.google.com.sg/advanced_book_search">Advanced Book Search</a></li></ol></div><div id="volume-main"><div id="volume-left"><div id=menu_container ><div id="menu_scroll_wrapper"><div id="menu_scroll" role="navigation"><div id="gb-get-book-container"><a id="gb-get-book-content" href="https://books.google.com.sg/books?id=yeMgJsea3-8C&sitesec=buy&source=gbs_vpt_read">Get print book</a></div><p id="gb-get-book-not-available">No eBook available<p><h3 class=about_title><a name="buy_anchor"></a></h3><div id=buy class=about_content><div id=buy_v><ul style="list-style-type: none; padding-left: 0; margin: 0;"><li><a style="white-space:normal" href="http://www.amazon.com/gp/search?index=books&linkCode=qs&keywords=9781855660984" dir=ltr onMouseOver="this.href='http://www.amazon.com/gp/search?index\x3dbooks\x26linkCode\x3dqs\x26keywords\x3d9781855660984';return false" onMouseDown="this.href='/url?client\x3dca-print-tamesis\x26format\x3dgoogleprint\x26num\x3d0\x26id\x3dyeMgJsea3-8C\x26q\x3dhttp://www.amazon.com/gp/search%3Findex%3Dbooks%26linkCode%3Dqs%26keywords%3D9781855660984\x26usg\x3dAOvVaw0fl4m_B-noQGfaCTkGy-7i\x26source\x3dgbs_buy_r';return true"><span dir=ltr>Amazon.com</span></a></li><li><a style="white-space:normal" href="http://www.mphonline.com/books/nsearch.aspx?do=detail&pcode=9781855660984" dir=ltr onMouseOver="this.href='http://www.mphonline.com/books/nsearch.aspx?do\x3ddetail\x26pcode\x3d9781855660984';return false" onMouseDown="this.href='/url?client\x3dca-print-tamesis\x26format\x3dgoogleprint\x26num\x3d0\x26id\x3dyeMgJsea3-8C\x26q\x3dhttp://www.mphonline.com/books/nsearch.aspx%3Fdo%3Ddetail%26pcode%3D9781855660984\x26usg\x3dAOvVaw04pAGzjq0PjJEC12AKO-3B\x26source\x3dgbs_buy_r';return true"><span dir=ltr>MPH</span></a></li><li><a style="white-space:normal" href="https://www.popular.com.sg/catalogsearch/result/?q=9781855660984" dir=ltr onMouseOver="this.href='https://www.popular.com.sg/catalogsearch/result/?q\x3d9781855660984';return false" onMouseDown="this.href='/url?client\x3dca-print-tamesis\x26format\x3dgoogleprint\x26num\x3d0\x26id\x3dyeMgJsea3-8C\x26q\x3dhttps://www.popular.com.sg/catalogsearch/result/%3Fq%3D9781855660984\x26usg\x3dAOvVaw31rCKgzMBNBJd_01b1aBJ2\x26source\x3dgbs_buy_r';return true"><span dir=ltr>Popular</span></a></li><li><hr style="margin-right: 20%; color: #666;"></li><li><a style="white-space:normal" href="https://books.google.com.sg/url?id=yeMgJsea3-8C&pg=PA53&q=http://www.worldcat.org/oclc/1025101170&clientid=librarylink&usg=AOvVaw1AVDWZkgrwOJwSAfjUNq0x&source=gbs_buy_r"><span dir=ltr>Find in a library</span></a></li><li><a class="secondary" style="white-space:normal" href="https://books.google.com.sg/books?id=yeMgJsea3-8C&sitesec=buy&source=gbs_buy_r" id="get-all-sellers-link"><span dir=ltr>All sellers</span> »</a></li></ul></div></div><div class=menu id=menu><div class="menu_content" style="margin-bottom:6px"><div style="margin-bottom:4px"><div class="sidebarnav"><table border="0" cellpadding="0" cellspacing="0"><tr><td><div class="sidebarcover"><a href="https://books.google.com.sg/books?id=yeMgJsea3-8C&printsec=frontcover&vq=visual" onclick="_OC_Page('PP1',this.href); return false;"><img src="https://books.google.com.sg/books/content?id=yeMgJsea3-8C&printsec=frontcover&img=1&zoom=5&edge=curl&imgtk=AFLRE733YWmyaP9JmOtF8AL0ym0t6NTLP3NNbuSUV9nJ5D2v-nZ5xQZ8Kg1VnLzLvGhjHAEicLl8pTsR8GQMCb8NaDakU12u6AfHPd68WI4WbH9BZimvA8nIbyOioMwrchtdKQGIPxcQ" alt="Front Cover" title="Front Cover" height=80 border=1 id=summary-frontcover ></a></div></td><td></td></tr></table></div><div style="clear:both"></div></div><div id="volume-info-sidebar"><h1 class="gb-volume-title" dir=ltr>Literary Adaptations in Spanish Cinema, Volume 202</h1><span class="addmd">By Sally Faulkner</span></div><div style="margin-bottom:3px"><form action=/books id=search_form style="margin:0px;padding:0px;" method=get> <input type=hidden name="id" value="yeMgJsea3-8C"><table cellpadding=0 cellspacing=0 class="swv-table"><tr><td class="swv-td-search"><span><input id=search_form_input type=text maxlength=1024 class="text_flat swv-input-search" aria-label="Search in this book" name=q value="" title="Go" accesskey=i></span></td><td class="swv-td-space"><div> </div></td><td><input type=submit value="Go"></td></tr></table><script type="text/javascript">if (window['_OC_autoDir']) {_OC_autoDir('search_form_input');}</script></form></div><div><p><a id="sidebar-atb-link" href="https://books.google.com.sg/books?id=yeMgJsea3-8C&vq=visual&source=gbs_navlinks_s"><span dir=ltr>About this book</span></a></p></div></div></div><div class="sidebar-hr"></div><div class="ebook-promo"><a href="https://play.google.com/store/books"><img border="0" src="/googlebooks/images/ebook_promo.png" /><h3 class="section">Shop for Books on Google Play</h3><p class="ebook-promo-description">Browse the world's largest eBookstore and start reading today on the web, tablet, phone, or ereader.</p><p class="ebook-promo-clickme">Go to Google Play Now »</p></a></div><div class="sidebar-hr"></div><div><div id="navbarContainer" class="gb-navbar"></div><script>_OC_InitNavbar({"child_node":[{"title":"My library","url":"https://books.google.com.sg/books?uid=114584440181414684107\u0026source=gbs_lp_bookshelf_list","id":"my_library","collapsed":true},{"title":"My History","url":"","id":"my_history","collapsed":true}],"highlighted_node_id":""});</script><h3 class=about_title><a name="pub_info_anchor"></a></h3><div id=pub_info class=about_content><div id=pub_info_v><table cellspacing=0><tr><td><a href="https://books.google.com.sg/url?id=yeMgJsea3-8C&pg=PA53&q=http://www.tamesisbooks.com&clientid=ca-print-tamesis&linkid=1&usg=AOvVaw1Bbja7QHoShfjbV779m7JA&source=gbs_pub_info_r" style="text-decoration:none"><img width=158 height=35 border=0 src="https://pagead2.googlesyndication.com/pagead/imgad?id=CPSE16Pkh67eXRC-ARgqMgjV8sn8j49Fbw" alt="Tamesis"></a><tr><td style="font-size:84.6%;color:#666666">Pages displayed by permission of <a class=link_aux href="https://books.google.com.sg/url?id=yeMgJsea3-8C&pg=PA53&q=http://www.tamesisbooks.com&clientid=ca-print-tamesis&linkid=1&usg=AOvVaw1Bbja7QHoShfjbV779m7JA&source=gbs_pub_info_r">Tamesis</a>. <a style="color:#7777cc;white-space:normal" href="https://books.google.com.sg/books?id=yeMgJsea3-8C&printsec=copyright&vq=visual&source=gbs_pub_info_r">Copyright</a>. </table></div></div></div></div></div></div></div><div id="volume-center"><div id="scroll_atb" role="main"><div id="toolbar_container"><div style="float:left;white-space:nowrap"><table cellpadding=0 cellspacing=0><tr><td id="l_toolbar"></td><td class=toolbar-pc-cell><table cellpadding=0 cellspacing=0><tr><td class=no-jump-cell align=right><span id=page_label style="margin-right:.5em">Page 53</span></td><td class=arrow style="padding-right:2px"><a href="https://books.google.com.sg/books?id=yeMgJsea3-8C&pg=PA52&lpg=PA53&focus=viewport&vq=visual" onclick="_OC_EmptyFunc(this.href); return false;"><div class=pagination><div id=prev_btn alt="Previous Page" title="Previous Page" class="SPRITE_pagination_v2_left"></div></div></a></td><td class=arrow><a href="https://books.google.com.sg/books?id=yeMgJsea3-8C&pg=PA54&lpg=PA53&focus=viewport&vq=visual" onclick="_OC_EmptyFunc(this.href); return false;"><div class=pagination><div id=next_btn alt="Next Page" title="Next Page" class="SPRITE_pagination_v2_right"></div></div></a></td></tr></table></td><td>  </td><td id=view_toolbar></td><td id=view_new></td></tr></table></div><div style="float:right"><table cellpadding=0 cellspacing=0><tr><td></td><td id="r_toolbar" style="white-space:nowrap"></td></tr></table></div><div style="clear:both"></div></div><div id="search_bar"></div><div class="gback"><div id="viewport" class="viewport" tabindex="0"><a name="page" accesskey="c"></a><table class="viewport-table" id="container" align="center" cellpadding="0" cellspacing="0"><tr><td valign="top" align="center"><noscript><style type=text/css>.imgg { width:575px;height:844px;background:#eee;padding-bottom:25px}</style><div class=imgg><div align=center><table border=0 cellpadding=0 cellspacing=0 width=500 align=center style="margin-top:2em"><tr><td rowspan=2 valign=top style="width:9px;background:#fff url('/googlebooks/bbl_l.gif') top left repeat-y"><img src="/googlebooks/bbl_tl.gif" width=9 height=7 alt=""></td><td style="background:url('/googlebooks/bbl_t.gif') top left repeat-x"><img width=1 height=7 alt=""></td><td rowspan=2 valign=top style="width:10px;background:#fff url('/googlebooks/bbl_r.gif') top right repeat-y"><img src="/googlebooks/bbl_tr.gif" width=10 height=7 alt=""></td></tr><tr><td align=center style="background:#ff9;text-align:center;line-height:1.2em"><div style="margin:1em"><img width=60 height=60 align=absmiddle src="/googlebooks/restricted_logo.gif" alt=""> <span style="font-weight:bold;font-size:1.2em"><br>Restricted Page</span></div><div style="margin:1em" align=left>You have reached your viewing limit for this book (<a href=https://books.google.com.sg/support/answer/43729?topic=9259&hl=en>why?</a>).</div></td></tr><tr><td><img src="/googlebooks/bbl_bl.gif" width=9 height=9 alt=""></td><td style="background:url('/googlebooks/bbl_b.gif') bottom left repeat-x"><img width=1 height=9 alt=""></td><td><img src="/googlebooks/bbl_br.gif" width=10 height=9 alt=""></td></tr></table></div></div></noscript></td></tr></table></div></div><script>_OC_addFlags({Host:"https://books.google.com.sg/", IsBooksUnifiedLeftNavEnabled:1, IsBrowsingHistoryEnabled:1, IsBooksRentalEnabled:1, IsZipitFolderCollectionEnabled:1});_OC_Run({"page":[{"pid":"PP1","flags":32,"order":0},{"pid":"PR4","order":4,"title":"iv"},{"pid":"PR5","order":5,"title":"v"},{"pid":"PR6","order":6,"title":"vi"},{"pid":"PR7","order":7,"title":"vii"},{"pid":"PR8","order":8,"title":"viii"},{"pid":"PA1","order":9,"title":"1"},{"pid":"PA2","order":10,"title":"2"},{"pid":"PA3","order":11,"title":"3"},{"pid":"PA4","order":12,"title":"4"},{"pid":"PA5","order":13,"title":"5"},{"pid":"PA6","order":14,"title":"6"},{"pid":"PA7","order":15,"title":"7"},{"pid":"PA8","order":16,"title":"8"},{"pid":"PA9","order":17,"title":"9"},{"pid":"PA10","order":18,"title":"10"},{"pid":"PA11","order":19,"title":"11"},{"pid":"PA12","order":20,"title":"12"},{"pid":"PA13","order":21,"title":"13"},{"pid":"PA14","order":22,"title":"14"},{"pid":"PA15","order":23,"title":"15"},{"pid":"PA16","order":24,"title":"16"},{"pid":"PA17","order":25,"title":"17"},{"pid":"PA18","order":26,"title":"18"},{"pid":"PA19","order":27,"title":"19"},{"pid":"PA20","order":28,"title":"20"},{"pid":"PA21","order":29,"title":"21"},{"pid":"PA22","order":30,"title":"22"},{"pid":"PA23","order":31,"title":"23"},{"pid":"PA24","order":32,"title":"24"},{"pid":"PA25","order":33,"title":"25"},{"pid":"PA26","order":34,"title":"26"},{"pid":"PA27","order":35,"title":"27"},{"pid":"PA28","order":36,"title":"28"},{"pid":"PA29","order":37,"title":"29"},{"pid":"PA30","order":38,"title":"30"},{"pid":"PA31","order":39,"title":"31"},{"pid":"PA32","order":40,"title":"32"},{"pid":"PA33","order":41,"title":"33"},{"pid":"PA34","order":42,"title":"34"},{"pid":"PA35","order":43,"title":"35"},{"pid":"PA36","order":44,"title":"36"},{"pid":"PA37","order":45,"title":"37"},{"pid":"PA38","order":46,"title":"38"},{"pid":"PA39","order":47,"title":"39"},{"pid":"PA40","order":48,"title":"40"},{"pid":"PA41","order":49,"title":"41"},{"pid":"PA42","order":50,"title":"42"},{"pid":"PA43","order":51,"title":"43"},{"pid":"PA44","order":52,"title":"44"},{"pid":"PA45","order":53,"title":"45"},{"pid":"PA46","order":54,"title":"46"},{"pid":"PA47","order":55,"title":"47"},{"pid":"PA48","order":56,"title":"48"},{"pid":"PA49","order":57,"title":"49"},{"pid":"PA50","order":58,"title":"50"},{"pid":"PA51","order":59,"title":"51"},{"pid":"PA52","flags":8,"order":60,"title":"52"},{"pid":"PA53","flags":8,"order":61,"title":"53"},{"pid":"PA54","flags":8,"order":62,"title":"54"},{"pid":"PA55","flags":8,"order":63,"title":"55"},{"pid":"PA56","flags":8,"order":64,"title":"56"},{"pid":"PA57","order":65,"title":"57"},{"pid":"PA58","order":66,"title":"58"},{"pid":"PA59","order":67,"title":"59"},{"pid":"PA60","order":68,"title":"60"},{"pid":"PA61","order":69,"title":"61"},{"pid":"PA62","order":70,"title":"62"},{"pid":"PA63","order":71,"title":"63"},{"pid":"PA64","order":72,"title":"64"},{"pid":"PA65","order":73,"title":"65"},{"pid":"PA66","order":74,"title":"66"},{"pid":"PA67","order":75,"title":"67"},{"pid":"PA68","order":76,"title":"68"},{"pid":"PA69","order":77,"title":"69"},{"pid":"PA70","order":78,"title":"70"},{"pid":"PA71","order":79,"title":"71"},{"pid":"PA72","order":80,"title":"72"},{"pid":"PA73","order":81,"title":"73"},{"pid":"PA74","order":82,"title":"74"},{"pid":"PA75","order":83,"title":"75"},{"pid":"PA76","order":84,"title":"76"},{"pid":"PA77","order":85,"title":"77"},{"pid":"PA78","order":86,"title":"78"},{"pid":"PA79","order":87,"title":"79"},{"pid":"PA80","order":88,"title":"80"},{"pid":"PA81","order":89,"title":"81"},{"pid":"PA82","order":90,"title":"82"},{"pid":"PA83","order":91,"title":"83"},{"pid":"PA84","order":92,"title":"84"},{"pid":"PA85","order":93,"title":"85"},{"pid":"PA86","order":94,"title":"86"},{"pid":"PA87","order":95,"title":"87"},{"pid":"PA88","order":96,"title":"88"},{"pid":"PA89","order":97,"title":"89"},{"pid":"PA90","order":98,"title":"90"},{"pid":"PA91","order":99,"title":"91"},{"pid":"PA92","order":100,"title":"92"},{"pid":"PA93","order":101,"title":"93"},{"pid":"PA94","order":102,"title":"94"},{"pid":"PA96","order":104,"title":"96"},{"pid":"PA97","order":105,"title":"97"},{"pid":"PA98","order":106,"title":"98"},{"pid":"PA99","order":107,"title":"99"},{"pid":"PA102","order":110,"title":"102"},{"pid":"PA107","order":115,"title":"107"},{"pid":"PA108","order":116,"title":"108"},{"pid":"PA109","order":117,"title":"109"},{"pid":"PA115","order":123,"title":"115"},{"pid":"PA116","order":124,"title":"116"},{"pid":"PA117","order":125,"title":"117"},{"pid":"PA118","order":126,"title":"118"},{"pid":"PA119","order":127,"title":"119"},{"pid":"PA120","order":128,"title":"120"},{"pid":"PA121","order":129,"title":"121"},{"pid":"PA122","order":130,"title":"122"},{"pid":"PA123","order":131,"title":"123"},{"pid":"PA125","order":133,"title":"125"},{"pid":"PA128","order":136,"title":"128"},{"pid":"PA129","order":137,"title":"129"},{"pid":"PA132","order":140,"title":"132"},{"pid":"PA134","order":142,"title":"134"},{"pid":"PA135","order":143,"title":"135"},{"pid":"PA137","order":145,"title":"137"},{"pid":"PA138","order":146,"title":"138"},{"pid":"PA139","order":147,"title":"139"},{"pid":"PA140","order":148,"title":"140"},{"pid":"PA141","order":149,"title":"141"},{"pid":"PA144","order":152,"title":"144"},{"pid":"PA147","order":155,"title":"147"},{"pid":"PA148","order":156,"title":"148"},{"pid":"PA150","order":158,"title":"150"},{"pid":"PA151","order":159,"title":"151"},{"pid":"PA152","order":160,"title":"152"},{"pid":"PA153","order":161,"title":"153"},{"pid":"PA155","order":163,"title":"155"},{"pid":"PA156","order":164,"title":"156"},{"pid":"PA157","order":165,"title":"157"},{"pid":"PA158","order":166,"title":"158"},{"pid":"PA159","order":167,"title":"159"},{"pid":"PA160","order":168,"title":"160"},{"pid":"PA161","order":169,"title":"161"},{"pid":"PA162","order":170,"title":"162"},{"pid":"PA163","order":171,"title":"163"},{"pid":"PA165","order":173,"title":"165"},{"pid":"PA166","order":174,"title":"166"},{"pid":"PA167","order":175,"title":"167"},{"pid":"PA169","order":177,"title":"169"},{"pid":"PA170","order":178,"title":"170"},{"pid":"PA172","order":180,"title":"172"},{"pid":"PA173","order":181,"title":"173"},{"pid":"PA174","order":182,"title":"174"},{"pid":"PA176","order":184,"title":"176"},{"pid":"PA179","order":187,"title":"179"},{"pid":"PA180","order":188,"title":"180"},{"pid":"PA189","order":197,"title":"189"},{"pid":"PA190","order":198,"title":"190"},{"pid":"PA191","order":199,"title":"191"},{"pid":"PA192","order":200,"title":"192"},{"pid":"PA193","order":201,"title":"193"},{"pid":"PA194","order":202,"title":"194"},{"pid":"PA195","order":203,"title":"195"},{"pid":"PA196","order":204,"title":"196"},{"pid":"PA197","order":205,"title":"197"},{"pid":"PA198","order":206,"title":"198"}],"prefix":"https://books.google.com.sg/books?id=yeMgJsea3-8C\u0026lpg=PA53\u0026vq=visual"},{"fullview":false,"page_width":575,"page_height":844,"font_height":12,"first_content_page":9,"disable_twopage":false,"initial_zoom_width_override":685,"show_print_pages_button":false,"title":"Literary Adaptations in Spanish Cinema","subtitle":"","attribution":"By Sally Faulkner","additional_info":{"[JsonBookInfo]":{"BuyLinks":[{"Seller":"Amazon.com","Url":"http://www.amazon.com/gp/search?index=books\u0026linkCode=qs\u0026keywords=9781855660984","TrackingUrl":"/url?client=ca-print-tamesis\u0026format=googleprint\u0026num=0\u0026id=yeMgJsea3-8C\u0026q=http://www.amazon.com/gp/search%3Findex%3Dbooks%26linkCode%3Dqs%26keywords%3D9781855660984\u0026usg=AOvVaw0fl4m_B-noQGfaCTkGy-7i"},{"Seller":"MPH","Url":"http://www.mphonline.com/books/nsearch.aspx?do=detail\u0026pcode=9781855660984","TrackingUrl":"/url?client=ca-print-tamesis\u0026format=googleprint\u0026num=0\u0026id=yeMgJsea3-8C\u0026q=http://www.mphonline.com/books/nsearch.aspx%3Fdo%3Ddetail%26pcode%3D9781855660984\u0026usg=AOvVaw04pAGzjq0PjJEC12AKO-3B"},{"Seller":"Popular","Url":"https://www.popular.com.sg/catalogsearch/result/?q=9781855660984","TrackingUrl":"/url?client=ca-print-tamesis\u0026format=googleprint\u0026num=0\u0026id=yeMgJsea3-8C\u0026q=https://www.popular.com.sg/catalogsearch/result/%3Fq%3D9781855660984\u0026usg=AOvVaw31rCKgzMBNBJd_01b1aBJ2"}],"AboutUrl":"https://books.google.com.sg/books?id=yeMgJsea3-8C","PreviewUrl":"https://books.google.com.sg/books?id=yeMgJsea3-8C","allowed_syndication_flags":{"allow_disabling_chrome":true},"TocLine":[{"Title":"Texts and Contexts","Pid":"PA1","PgNum":"1","Order":9},{"Title":"Aesthetics and History","Pid":"PA15","PgNum":"15","Order":23},{"Title":"In Search of Authenticity","Pid":"PA24","PgNum":"24","Order":32},{"Title":"Tiempo de silencio Aranda 1986","Pid":"PA33","PgNum":"33","Order":41},{"Title":"Violence and Nostalgia in the Country and the City","Pid":"PA47","PgNum":"47","Order":55},{"Title":"Rural Space ","Pid":"PA53","PgNum":"53","Order":61},{"Title":"Violence in Absolute Space","Pid":"PA54","PgNum":"54","Order":62},{"Title":"Nostalgia for Absolute Space","Pid":"PA60","PgNum":"60","Order":68},{"Title":"Urban Space","Pid":"PA66","PgNum":"66","Order":74},{"Title":"Violence in Abstract Space","Pid":"PA67","PgNum":"67","Order":75},{"Title":"Beyond Abstract Space ","Pid":"PA72","PgNum":"72","Order":80},{"Title":"Gender and the Adaptations of Fortunata y Jacinta and La Regenta","Pid":"PA79","PgNum":"79","Order":87},{"Title":"Film and Television Adaptations of Fortunata y Jacinta","Pid":"PA88","PgNum":"88","Order":96},{"Title":"Fortunata y Jacinta Fons 1970","Pid":"PA89","PgNum":"89","Order":97},{"Title":"Fortunata y Jacinta Camus 1980","Pid":"PA97","PgNum":"97","Order":105},{"Title":"Film and Television Adaptations of La Regenta","Pid":"PA108","PgNum":"108","Order":116},{"Title":"La Regenta Gonzalo Suárez 1974","Pid":"PA110","PgNum":"110","Order":118},{"Title":"La Regenta Méndez Leite 1995 ","Pid":"PA115","PgNum":"115","Order":123},{"Title":"Buñuels Debt to Galdós","Pid":"PA126","PgNum":"126","Order":134},{"Title":"From Uncertainty to Censure","Pid":"PA136","PgNum":"136","Order":144},{"Title":"From Ambiguity to Sabotage","Pid":"PA148","PgNum":"148","Order":156},{"Title":"Cinema and History ","Pid":"PA163","PgNum":"163","Order":171},{"Title":"FILMOGRAPHY","Pid":"PA167","PgNum":"167","Order":175},{"Title":"BIBLIOGRAPHY","Pid":"PA171","PgNum":"171","Order":179},{"Title":"INDEX","Pid":"PA189","PgNum":"189","Order":197}]}},"table_of_contents_page_id":"PR5","max_resolution_image_width":1280,"max_resolution_image_height":1878,"num_toc_pages":1,"quality_info":"We have no quality information about this book.","volume_id":"yeMgJsea3-8C","permission_info":"Pages displayed by permission of \u003ca class=link_aux href=\"https://books.google.com.sg/url?id=yeMgJsea3-8C\u0026pg=PA53\u0026q=http://www.tamesisbooks.com\u0026clientid=ca-print-tamesis\u0026linkid=1\u0026usg=AOvVaw1Bbja7QHoShfjbV779m7JA\u0026source=gbs_pub_info_r\"\u003eTamesis\u003c/a\u003e","is_ebook":false,"volumeresult":{"has_flowing_text":true,"has_scanned_text":true,"can_download_pdf":false,"can_download_epub":false,"is_pdf_drm_enabled":false,"is_epub_drm_enabled":false},"publisher":"Tamesis","publication_date":"2004","subject":"Literary Collections","num_pages":198,"sample_url":"https://play.google.com/books/reader?id=yeMgJsea3-8C\u0026source=gbs_vpt_hover","synposis":"New readings of 20th-century literary cinematic texts are presented here in historical context, informed by cultural theory. New readings of literary and cinematic texts are presented here in historical context, informed by cultural theory. In her survey of the history of Spanish cinema in the dictatorship and democratic periods, the author argues thatstudies of adaptations must simultaneously address questions of 'text' - formal issues central to the study of film and literature - and 'context' - ideological concerns crucial to late twentieth-century Spain. She examines threethemes of particular importance to contemporary Spanish culture - the recuperation of history, the negotiation of the rural and the urban, and the representation of gender - and considers the related stylistic issues of the affinities between cinematic expression and nostalgia, the city and phallocentrism. The study concludes with an analysis of the formal question of the narrator in film and literature, through an assessment of Buñuel's previously unacknowledged stylistic debt to Galdós as manifested in his adaptations of Nazarín and Tristana. SALLY FAULKNER is Lecturer in Hispanic Studies at the University of Exeter.","my_library_url":"https://www.google.com/accounts/Login?service=print\u0026continue=https://books.google.com.sg/books%3Fop%3Dlibrary\u0026hl=en","is_magazine":false,"is_public_domain":false,"last_page":{"pid":"PA198","order":206,"title":"198"}},{"enableUserFeedbackUI":true,"pseudocontinuous":true,"is_cobrand":false,"sign_in_url":"https://www.google.com/accounts/Login?service=print\u0026continue=https://books.google.com.sg/books%3Fid%3DyeMgJsea3-8C%26q%3Dvisual%26source%3Dgbs_word_cloud_r%26hl%3Den\u0026hl=en","isEntityPageViewport":false,"showViewportOnboarding":false,"showViewportPlainTextOnboarding":false},{"page":[{"pid":"PA53","highlights":[{"X":350,"Y":325,"W":31,"H":12},{"X":302,"Y":416,"W":32,"H":12},{"X":378,"Y":535,"W":31,"H":12}],"flags":8,"order":61,"vq":"visual"}]},null,{"number_of_results":32,"search_results":[{"page_id":"PA16","page_number":"16","snippet_text":"... \u003cb\u003evisually\u003c/b\u003e pleasing at any cost\u0026#39; (1986, 227). For example, Carlos Losilla similarly observes that the 1980s literary adaptation was \u0026#39;un 3 See Jo Labanyi on the \u0026#39;recuperation industry\u0026#39; of post-Franco Spanish culture (1995c, 402). On\u0026nbsp;..."},{"page_id":"PA20","page_number":"20","snippet_text":"... \u003cb\u003evisual\u003c/b\u003e codes , which are compared to the verbal codes of the novels , Mínguez Arranz\u0026#39;s account is a welcome attempt to redress the critical balance . This critical approach therefore allows Mínguez Arranz to bypass one problematic area\u0026nbsp;..."},{"page_id":"PA40","page_number":"40","snippet_text":"... \u003cb\u003evisual\u003c/b\u003e pleasures associated with the conventions of period drama , Aranda\u0026#39;s immediate filmic influence in this piece appears to be the Italian neorealism which had similarly inspired oppositional artists during the dictatorship.19\u0026nbsp;..."},{"page_id":"PA41","page_number":"41","snippet_text":"... \u003cb\u003evisually\u003c/b\u003e expressive time of \u0026#39; entrapment \u0026#39; ; furthermore the almost complete absence of music on the soundtrack has been more liter- ally related to the novel\u0026#39;s title ( Vera 1989 , 169 ) . In a \u003cb\u003evisual\u003c/b\u003e echo of the opening images of caged\u0026nbsp;..."},{"page_id":"PA50","page_number":"50","snippet_text":"... \u003cb\u003evisual\u003c/b\u003e \u0026#39; , dimension of the medium . \u0026#39; Cinema \u0026#39; she affirms , \u0026#39; is able to represent embodied perception , vision as a mobile , physical experience . [ . . . ] The process of cinematic perception is situated between cognitive and\u0026nbsp;..."},{"page_id":"PA51","page_number":"51","snippet_text":"... \u003cb\u003evisual\u003c/b\u003e and mobile , is able to adopt the position of both the \u0026#39; voyeur \u0026#39; and the \u0026#39; walkers \u0026#39; , as Wings of Desire demonstrates . In this chapter I propose reading both urban and rural spaces with these concep- tual tools of \u0026#39; visuality\u0026nbsp;..."},{"page_id":"PA52","page_number":"52","snippet_text":"... \u003cb\u003evisual\u003c/b\u003e , intelligible and abstract space \u0026#39; , on the other there is a \u0026#39; fascination \u0026#39; with \u0026#39; a natural space which has been lost and / or rediscovered , with absolute political or religious spaces [ . . . ] \u0026#39; ( 1999 , 140 ) . We may\u0026nbsp;..."},{"page_id":"PA53","page_number":"53","snippet_text":"... \u003cb\u003evisual\u003c/b\u003e element in the arts which best appeases these compulsions . ( 1996 , 106 , original emphasis ) As discussed above , it is not only this shared \u0026#39; visuality \u0026#39; that accounts for the affinity . At the same time as Soviet filmmakers\u0026nbsp;..."},{"page_id":"PA59","page_number":"59","snippet_text":"... \u003cb\u003evisual\u003c/b\u003e pleasure . It is furthermore relentless in the demands it makes on the intellectual contribu- tion of the viewer . The film contains scarcely any dialogue , and is character- ized instead by narrative ellipsis and a\u0026nbsp;..."},{"page_id":"PA64","page_number":"64","snippet_text":"... \u003cb\u003evisually\u003c/b\u003e pleasing at any cost \u0026#39; ( Hopewell 1986 , 227 ) is echoed by Jordan and Morgan - Tamosunas , who also observe a disjuncture between \u0026#39; rough \u0026#39; narrative content and \u0026#39; smooth \u0026#39; narrative form in the film ( 1998 , 35 ) . Such an\u0026nbsp;..."},{"page_id":"PA69","page_number":"69","snippet_text":"... \u003cb\u003evisual\u003c/b\u003e media : La cultura de nuestra época es audiovisual . La única realidad de nuestra época es la de la televisión . Cuando vemos algo que nos impresiona siempre tenemos la sensación de estar viendo una película . [ . . . ] Somos los\u0026nbsp;..."},{"page_id":"PA70","page_number":"70","snippet_text":"... \u003cb\u003evisual\u003c/b\u003e - geometric \u0026#39; , or \u0026#39; conceived \u0026#39; , spaces of Lefebvre\u0026#39;s \u0026#39; abstract \u0026#39; space ( 1999 , 289 ) . If such cityscape shots make use of the \u0026#39; visuality \u0026#39; of the film medium , emphasizing space as perceived by the eye and indicating an\u0026nbsp;..."},{"page_id":"PA84","page_number":"84","snippet_text":"... \u003cb\u003evisual\u003c/b\u003e narratives and it is revealing to compare them in the light of feminist theories of identification in the cinema and the possible \u003cb\u003evisual\u003c/b\u003e pleasures such texts offer to spectators . The starting point in this discussion is the\u0026nbsp;..."},{"page_id":"PA85","page_number":"85","snippet_text":"... \u003cb\u003evisual\u003c/b\u003e pleasure by identi- fying with male characters , and hence pronounces that the gaze is male . As Mulvey herself has subsequently pointed out ( 1989 , 29–38 ) , there are all sorts of problems with this argument , not least the\u0026nbsp;..."},{"page_id":"PA86","page_number":"86","snippet_text":"... \u003cb\u003evisual\u003c/b\u003e pleasure is predicated on a psychoanalytic understanding of the processes of identification which take place once the spectator\u0026#39;s ego is loosened and his \u0026#39; voyeuristic phantasy \u0026#39; ( 1999 , 836 ) unleashed in the darkened\u0026nbsp;..."},{"page_id":"PA88","page_number":"88","snippet_text":"... \u003cb\u003evisual\u003c/b\u003e arts , has been previously investigated ( Bly 1986 ) ; it has also been suggested that Galdós\u0026#39;s prose prefigured cinematic technique ( Madariaga de la Campa 18 Rich\u0026#39;s quotation inspired the title of a collection of essays on\u0026nbsp;..."},{"page_id":"PA92","page_number":"92","snippet_text":"... \u003cb\u003evisual\u003c/b\u003e vocabulary is furthermore entirely appropriate to the medium of film . Following a credit sequence consisting of various shots of a faded cover of the novel , the film proper opens with an extreme close - up of a model of the\u0026nbsp;..."},{"page_id":"PA97","page_number":"97","snippet_text":"... \u003cb\u003evisual\u003c/b\u003e pleasure to the male gaze.26 FORTUNATA Y JACINTA (CAMUS 1980) It has been some seventy years since Marxists of the Frankfurt school condemned mass culture as conservative and reconciliatory, compared to \u0026#39;art\u0026#39; which could uniquely\u0026nbsp;..."},{"page_id":"PA102","page_number":"102","snippet_text":"... \u003cb\u003evisually\u003c/b\u003e creative and inspired by Galdós\u0026#39;s text, who also conveys Fortunata\u0026#39;s adulterous temptation through her dream of spatial transgression. The above reading may be considered alongside the corresponding passage of Galdós\u0026#39;s text\u0026nbsp;..."},{"page_id":"PA107","page_number":"107","snippet_text":"... \u003cb\u003evisual\u003c/b\u003e medium. Again, as in Fons\u0026#39;s introduction of Fortunata, in his version of the egg-sucking sequence Camus also overlooks the fact that both characters spy on each other in Galdós\u0026#39;s original (1994–95, I, 182), and inscribes the male\u0026nbsp;..."},{"page_id":"PA108","page_number":"108","snippet_text":"... \u003cb\u003evisual\u003c/b\u003e point of view , but feature the two characters reacting to events . We simultaneously watch the characters , but are aware that the perspective is their own point of view . As John Caughie points out , \u0026#39; if the point - of - view\u0026nbsp;..."},{"page_id":"PA109","page_number":"109","snippet_text":"... \u003cb\u003evisual\u003c/b\u003e intercourse with her suitor. For the other characters of the novel, showing and looking are all important too, as the sequence of Ana\u0026#39;s barefoot penitence makes clear: \u0026#39;Vinagre admiró como todo el pueblo, especialmente el pueblo\u0026nbsp;..."},{"page_id":"PA117","page_number":"117","snippet_text":"... \u003cb\u003eVisually\u003c/b\u003e repre- senting the above quotation, he juxtaposes an image of Fermín impatiently staring from his ... \u003cb\u003evisual\u003c/b\u003e reading of the novel is sensitive to the question of gender. Like Camus in Fortunata y Jacinta, Méndez Leite\u0026nbsp;..."},{"page_id":"PA120","page_number":"120","snippet_text":"... here on . Méndez Leite in this way establishes the \u003cb\u003evisual\u003c/b\u003e , linguistic and phallic nature of Fermín\u0026#39;s power . Such a focus on the Magistral may be explained by his portrayal by acclaimed Spanish star Carmelo Gómez , who 120 SALLY FAULKNER."},{"page_id":"PA122","page_number":"122","snippet_text":"... \u003cb\u003evisual\u003c/b\u003e pleasure and eschews the formal possibility of television , exploited by Camus , to inscribe a potentially ... \u003cb\u003evisually\u003c/b\u003e objectifies Ana , a similarly authoritative voice linguistically objectifies her . As previously\u0026nbsp;..."},{"page_id":"PA123","page_number":"123","snippet_text":"... \u003cb\u003evisually\u003c/b\u003e absent male narrator reads famous extracts from the first two paragraphs of Alas\u0026#39;s novel ( 1995 , 7 ) against the backdrop of an image of the cathedral tower which is being described . Benign in itself , this introduction forms\u0026nbsp;..."},{"page_id":"PA125","page_number":"125","snippet_text":"... \u003cb\u003evisual\u003c/b\u003e pleasures and a reinforcement of patriarchal gender ideology. However, in its final images it tentatively traces the transformation of its heroine from viewed object to viewing subject, and thus cautiously looks forward to\u0026nbsp;..."},{"page_id":"PA135","page_number":"135","snippet_text":"... \u003cb\u003evisual\u003c/b\u003e field which can be understood as the product of a mind which is not that of any fictional character , but is the mindscreen of an off - screen narrator . Kawin argues that such films may therefore be under- stood as \u0026#39; first\u0026nbsp;..."},{"page_id":"PA153","page_number":"153","snippet_text":"... \u003cb\u003evisual\u003c/b\u003e action and looks forward to disablement as the main theme of the film through Saturno\u0026#39;s deafness then Tristana\u0026#39;s amputation.32 Prefiguration of the amputation through word play originates with Galdós\u0026#39;s playful narrator , which\u0026nbsp;..."},{"page_id":"PA156","page_number":"156","snippet_text":"... \u003cb\u003evisual\u003c/b\u003e ) omniscience typical of the oral ironist \u0026#39; ( 1986 , 164–5 ) . At this point the cinematic narrator emphasizes his distance from the char- acter Lope , which is akin to the ironic detachment between the cinematic narrator and the\u0026nbsp;..."},{"page_id":"PA172","page_number":"172","snippet_text":"... \u003cb\u003eVisual\u003c/b\u003e Arts in Galdós : A Study of the Novels and Newspaper Articles , Liverpool Monographs in Hispanic Studies 6 ( Liverpool : Carn ) 1991 , Pérez Galdós : Nazarín \u0026#39; , Critical Guides to Spanish Texts 54 ( London : Grant \u0026amp; Cutler )\u0026nbsp;..."},{"page_id":"PA183","page_number":"183","snippet_text":"... \u003cb\u003eVisual\u003c/b\u003e and Other Pleasures ( Baskingstoke : MacMillan ) 1999 , \u0026#39; \u003cb\u003eVisual\u003c/b\u003e Pleasure and Narrative Cinema \u0026#39; , in Braudy and Cohen 1999 , pp . 833-44 Munsó Cabús , J. , 1971 , \u0026#39; Tristana , la mejor película del año \u0026#39; , review of Tristana by\u0026nbsp;...","page_url":"https://books.google.com.sg/books?id=yeMgJsea3-8C\u0026pg=PA183\u0026vq=visual"}],"search_query_escaped":"visual"},{});</script></div></div></div><script>(function() {var href = window.location.href;if (href.indexOf('?') !== -1) {var parameters = href.split('?')[1].split('&');for (var i = 0; i < parameters.length; i++) {var param = parameters[i].split('=');if (param[0] == 'focus') {var elem = document.getElementById(param[1]);if (elem) {elem.focus();}}}}})();</script>