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<!DOCTYPE html><html><head><title>Literary Adaptations in Spanish Cinema - Sally Faulkner - Google Books</title><link rel="stylesheet" href="/books/css/_c5f9cd9e241b1329c3ee374578edd3c4/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_c5f9cd9e241b1329c3ee374578edd3c4__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=AFLRE70bTB3cgV-CS0C4BBTm4xA7ioBXgMOqhZoweS2WWpjZW0zztzqS1xk1YXagl-7PrhIfVEjRhAVLIwVoq9hjkRihKCZa9qt4aPiWixdC7wiQ4kGuD9l2NuRJNf8lMQDjT3HPf2cT"/><link rel="image_src" href="https://books.google.com.sg/books/content?id=yeMgJsea3-8C&printsec=frontcover&img=1&zoom=1&edge=curl&imgtk=AFLRE70bTB3cgV-CS0C4BBTm4xA7ioBXgMOqhZoweS2WWpjZW0zztzqS1xk1YXagl-7PrhIfVEjRhAVLIwVoq9hjkRihKCZa9qt4aPiWixdC7wiQ4kGuD9l2NuRJNf8lMQDjT3HPf2cT"/><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%3Dsequence%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=sequence&source=gbs_word_cloud_r&hl=en&output=html_text" title="Screen reader users: click this link for accessible mode. 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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=sequence&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" 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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 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","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=PA75\u0026q=http://www.tamesisbooks.com\u0026clientid=ca-print-tamesis\u0026linkid=1\u0026usg=AOvVaw3ootwyh6NHgzvrQiorXDRI\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%3Dsequence%26source%3Dgbs_word_cloud_r%26hl%3Den\u0026hl=en","isEntityPageViewport":false,"showViewportOnboarding":false,"showViewportPlainTextOnboarding":false},{"page":[{"pid":"PA75","highlights":[{"X":404,"Y":343,"W":48,"H":13},{"X":121,"Y":418,"W":49,"H":13},{"X":339,"Y":450,"W":48,"H":13},{"X":321,"Y":465,"W":49,"H":12}],"flags":8,"order":83,"vq":"sequence"}]},null,{"number_of_results":43,"search_results":[{"page_id":"PA27","page_number":"27","snippet_text":"... \u003cb\u003esequences\u003c/b\u003e – which may be edited together achronologically – and the inevitable representation of events in the present tense , a novel which exploits such characteristics does not necessarily adapt easily to the screen . 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In the above quotation Camus expresses his concern . that these interpolations jar with the tone of the rest of the film , but – such was the energy devoted to mise en scène – the point is that they do\u0026nbsp;..."},{"page_id":"PA32","page_number":"32","snippet_text":"... \u003cb\u003esequence\u003c/b\u003e in which trium- phal military music is played against the pitiful images of the soup line , Camus\u0026#39;s ludic parallel montage reveals the disparity between the orthodox ritual described by the NO - DO commentator and the illicit\u0026nbsp;..."},{"page_id":"PA36","page_number":"36","snippet_text":"... \u003cb\u003esequence\u003c/b\u003e furthermore introduces a menacing and ubiq- uitous off - screen presence ( the dictatorship ) through the ... \u003cb\u003esequences\u003c/b\u003e of the film serve as a point of departure for the interpretation proposed here . 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The revolving big wheel and merry-go-rounds in the back- ground at the start of the \u003cb\u003esequence\u003c/b\u003e may initially appear innocuous, but the insistent\u0026nbsp;..."},{"page_id":"PA43","page_number":"43","snippet_text":"... \u003cb\u003esequence\u003c/b\u003e of the novel in his adaptation to reinforce this struc- tural circularity . The novel\u0026#39;s Pedro is sacked from his laboratory and leaves Madrid to become a provincial doctor , which allows Martín - Santos to elabo- rate a\u0026nbsp;..."},{"page_id":"PA58","page_number":"58","snippet_text":"... \u003cb\u003esequence\u003c/b\u003e which would explain the causal link . 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Thus the denial of the body in the fast - forward \u003cb\u003esequences\u003c/b\u003e frames\u0026nbsp;..."},{"page_id":"PA75","page_number":"75","snippet_text":"... \u003cb\u003esequence\u003c/b\u003e there is a harmony for the first time in the film between the speed of the action in the diegetic space and in the urban backdrop : the link - up at normal speed is followed by a narrative \u003cb\u003esequence\u003c/b\u003e at normal speed , and the\u0026nbsp;..."},{"page_id":"PA77","page_number":"77","snippet_text":"... \u003cb\u003esequences\u003c/b\u003e and the narrative vignettes , Lefebvre calls such a city one in which , \u0026#39; for the citizen and city - dweller , representa- tional space [ \u0026#39; lived \u0026#39; ] and the representation of space [ \u0026#39; conceived \u0026#39; ] , though they did not\u0026nbsp;..."},{"page_id":"PA91","page_number":"91","snippet_text":"... \u003cb\u003esequence\u003c/b\u003e in which Fortunata sleeps with Juanito on the feathers of her aunt\u0026#39;s poultry stall , a dead bird hanging beside them . Neither is Fons hesitant in reinforcing Galdós\u0026#39;s exploi- tation of the polysemy of pájara as both bird and\u0026nbsp;..."},{"page_id":"PA92","page_number":"92","snippet_text":"... \u003cb\u003esequence\u003c/b\u003e 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 baby Jesus , then pans over other icons of the nativity scene , of the type Almodóvar would famously\u0026nbsp;..."},{"page_id":"PA93","page_number":"93","snippet_text":"... \u003cb\u003esequence\u003c/b\u003e of the twin nativity scenes already discussed the symbolic register of the film inscribed is evident, but the establishment of perspective is equivocal. 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Fortunata leaves the bedroom. Cut to the hall. Fortunata puts her ear to the peephole of the front door and hears Juanito call her. She opens then closes the peephole. She\u0026nbsp;..."},{"page_id":"PA107","page_number":"107","snippet_text":"... \u003cb\u003esequence\u003c/b\u003e Camus also overlooks the fact that both characters spy on each other in Galdós\u0026#39;s original (1994–95, I, 182) ... \u003cb\u003esequences\u003c/b\u003e in which they reflect on their forthcoming marriage. Again, unlike Fons\u0026#39;s por- trayal of the Pitusín\u0026nbsp;..."},{"page_id":"PA108","page_number":"108","snippet_text":"... \u003cb\u003esequences\u003c/b\u003e do not posit Fortunata or Jacinta\u0026#39;s visual 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 . 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Álvaro takes leave of the Quintanars as he departs from Vetusta for the summer\u0026nbsp;..."},{"page_id":"PA117","page_number":"117","snippet_text":"... \u003cb\u003esequence\u003c/b\u003e from chapter nine of the novel, unfortu- nately not included by Méndez Leite, in which Ana collects her thoughts during a country walk and compares herself to the bird she has been watching: \u0026#39;Ese pajarillo no tiene alma y vuela\u0026nbsp;..."},{"page_id":"PA118","page_number":"118","snippet_text":"... \u003cb\u003esequence\u003c/b\u003e , are echoed spatially . Visitación , for example , weaves her way in and out of public and private spaces , like Vetusta\u0026#39;s streets and Ana\u0026#39;s bedroom , and is the principle conduit by which private information regarding Ana\u0026nbsp;..."},{"page_id":"PA120","page_number":"120","snippet_text":"... \u003cb\u003esequence\u003c/b\u003e , not to be found in the novel , in which the maid tells her master that \u0026#39; ¡ el señorito se parece a la torre de la catedral ! \u0026#39; Fermín\u0026#39;s point of view is then conveyed by a lengthy subjec- tive tracking shot in the cathedral\u0026nbsp;..."},{"page_id":"PA121","page_number":"121","snippet_text":"... \u003cb\u003esequence\u003c/b\u003e , for instance , Fermín\u0026#39;s pomposity is humorously deflated when his mother warns her \u0026#39; Fermo \u0026#39; not to be late home for his dinner . But whereas in the novel , as Alison Sinclair has demonstrated ( 1995 ) , this relationship\u0026nbsp;..."},{"page_id":"PA137","page_number":"137","snippet_text":"... \u003cb\u003esequence\u003c/b\u003e, unscripted and apparently added spontane- ously by Buñuel on set (Julio Alejandro quoted in Sánchez Vidal 1984, 218), is a case in point. Following the film\u0026#39;s diegesis of Nazarín\u0026#39;s brutal disabusal of his Christian values, the\u0026nbsp;..."},{"page_id":"PA138","page_number":"138","snippet_text":"... \u003cb\u003esequence\u003c/b\u003e of Nazarín\u0026#39;s interview with Don Pedro de Belmonte ( 1999 , 121-44 ) is specifically indebted to Cervantes\u0026#39;s novel . It may be related to the interview between Don Quijote and the Duke and Duchess in Part II ( e.g. chapter\u0026nbsp;..."},{"page_id":"PA141","page_number":"141","snippet_text":"... \u003cb\u003esequence\u003c/b\u003e of the priests drinking hot chocolate ( a favourite Buñuelian object of satire , to be repeated in Tristana ) , there is a conspicuous graphic contrast between an unusual high - angle shot of Nazarín\u0026#39;s snack of chocolate and\u0026nbsp;..."},{"page_id":"PA147","page_number":"147","snippet_text":"... \u003cb\u003esequence\u003c/b\u003e concerning the smallpox plague illustrates these different treatments . While the Galdosian approach is characteristically ironic in its exaggerated use of language , and Nazarín\u0026#39;s masochism is hinted at , it is possible for\u0026nbsp;..."},{"page_id":"PA150","page_number":"150","snippet_text":"... \u003cb\u003esequences\u003c/b\u003e ; dream imagery possesses an actuality more powerful than normal reality ; time changes are 25 For example , the narrator mixes up Tristana and Horacio\u0026#39;s love letters , \u0026#39; “ Te quise desde que nací . . . ” Esto decía la primera\u0026nbsp;..."},{"page_id":"PA151","page_number":"151","snippet_text":"... \u003cb\u003esequence\u003c/b\u003e \u0026#39; ( Labanyi 1999 , 90 ) .27 In fact the closing frames of the first \u003cb\u003esequence\u003c/b\u003e of the football match are perversely played at the end of the film . — bereavement is particularly unsettling , as the flashback only catches. With\u0026nbsp;..."},{"page_id":"PA152","page_number":"152","snippet_text":"... \u003cb\u003esequences\u003c/b\u003e are shot with as little intrusion by montage or camera movement as possible . The \u003cb\u003esequence\u003c/b\u003e in Tristana\u0026#39;s parental home , for example , which lasts over two minutes , contains only two different camera positions and one cut\u0026nbsp;..."},{"page_id":"PA156","page_number":"156","snippet_text":"... \u003cb\u003esequence\u003c/b\u003e of her pretending to play the piano on a table eloquently expresses both her affinity 34 In the script Lope\u0026#39;s participation in a duel was planned ( Buñuel 1971 , 34–6 ) ; on the censors \u0026#39; behest it was not shot . with the deaf\u0026nbsp;..."},{"page_id":"PA157","page_number":"157","snippet_text":"... \u003cb\u003esequence\u003c/b\u003e an unsettling surrealist disruption of the logic which divides the waking from the dreaming.3 36 35 Beth Miller argues that Buñuel\u0026#39;s characterization of Tristana depends on familiar \u0026#39; stock images \u0026#39; of femininity ( 1983a , 340 )\u0026nbsp;..."},{"page_id":"PA158","page_number":"158","snippet_text":"... \u003cb\u003esequence\u003c/b\u003e in direct speech . He adds , furthermore , a moralizing , prefigurative element by juxtaposing Tristana\u0026#39;s first sight of Horacio with a warning about playing with fire , and also throws in a refer- ence to the protagonist\u0026#39;s\u0026nbsp;..."},{"page_id":"PA159","page_number":"159","snippet_text":"... \u003cb\u003esequence\u003c/b\u003e thus : \u0026#39; we are reminded that an absent enunciator stands outside of Tristana\u0026#39;s narrative , for the film intercuts between the two alternative episodes [ and ] we miss the dramatic climax of both \u0026#39; ( 1993 , 317–18 ) . In her\u0026nbsp;..."},{"page_id":"PA160","page_number":"160","snippet_text":"... \u003cb\u003esequence\u003c/b\u003e between Tristana and Horacio in the painter\u0026#39;s studio . It therefore cannot be interpreted as a conventional mindscreen representing Lope\u0026#39;s point of view . Also , far from counterbalancing the portrayal of Tristana\u0026#39;s increasing\u0026nbsp;..."}],"search_query_escaped":"sequence"},{});</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>