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- W123719670 abstract "Comparisons between film and literature after Surrealism generally focus on the novel or drama, probably due to the predomi nance in the postwar era of neorealism, with its apparently seamless cinematic and narrative representations, and to the number of film adaptations of novels and plays in recent decades.1 Some tenuous links between postwar poetry and film can be found in the music and imagery of neorealist cinema, and in the prosaic language and seeming transparency of social poems. Clearly, however, poetry cannot effectively participate in a system of continuous representa tion because poetic form and imagery repeatedly rupture the illusion of continuity, foreground the imaginary, and puncture the suspension of disbelief.2 It is after the late 1960s that we note an increased affinity be tween cinema and poetry, as all genres become fragmented, allusive, and self-referential. This connection is already evident in the work of Spanish poets and directors who begin their careers in the 1960s and 1970s. In addition to the allusions to films or film techniques in nov?simo poetry, which Carmela Ferrad?ns has noted, or the allusions to poets or poetry in the films of the same era, as in the case of Carlos Saura's Elisa, vida m?a (1977), the genres are also linked by a common aesthetics, designed in part to prevent the censorship of cultural critiques or their appropriation by figures of authority.3 In both film and poetry, objectivity, continuity, and direct repres?nta" @default.
- W123719670 created "2016-06-24" @default.
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- W123719670 date "1997-01-01" @default.
- W123719670 modified "2023-09-28" @default.
- W123719670 title "Poetry and Film in Postmodern Spain: The Case of Pedro Almodóvar and Ana Rossetti" @default.
- W123719670 hasPublicationYear "1997" @default.
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