FRINK Linked Data Fragments server

Matches in SemOpenAlex for { <https://semopenalex.org/work/W4360983350> ?p ?o ?g. }

• W4360983350 endingPage "740" @default.
• W4360983350 startingPage "717" @default.
• W4360983350 abstract "AnnaTorresCacoullos is an Assistant Professor of Spanish at the University of Illinois at Urbana-Champaign. Her research spotlights practices of experimental film writing in Spain in the early twentieth century, including literary-cinematographic scripts and novelized film plots. m ode rnism / modernity volum e twe nty nine , num b e r four, p p 717–740. © 2023 johns hop kins unive rsity p re ss Cinema as Method: Re-vision in Ramón Gómez de la Serna’s Film Script Cifras (1930) AnnaTorres-Cacoullos In 1927 Luis Buñuel approached Ramón Gómez de la Serna and proposed to the author that they collaborate on a film based on the vanguard writer’s short fiction. In his memoir Buñuel recalled that the film would feature “A man [who] buys a paper from a kiosk and sits down on a nearby bench to read it; as he reads, Serna’s stories appear on the screen, each preceded by a newspaper headline—a local crime, a football match, a political event. When the ‘stories’ are over, the man gets to his feet, crumples up the paper, and throws it away.”1 Although Buñuel referred to the title of the film as “Caprichos” in his personal papers—taking its cue from Gómez de la Serna’s short narrative collection Caprichos (1925)—he also had variously referred to it as “El mundo por diez céntimos” (“The World for Ten Cents”), suggestive of the price of a newspaper at the time and indicative of the Ramonian vignettes that were to be presented as though from the page of a newspaper.2 Agustín Sánchez Vidal’s research claims that another of the film’s tentative titles had been simply “El periódico” (“The Newspaper”).3 If all went according to plan, the film—Buñuel’s first directed motion picture—would premier in October 1928 to coincide with the First Spanish Conference on Cinematography organized by the popular Madrilenian film magazine La Pantalla. Gómez de la Serna, leading figure of the Spanish avant-garde and labeled by Nigel Dennis as “the embodiment of modernity,” was intrigued by the opportunity to engage the emerging moving image medium , which he saw as probing the limits of representation and perception, and which appeared to challenge traditional modes M O D E R N I S M / modernity 718 of literary writing.4 Tasked with writing the film’s script, “Ramón,” as he liked to be called, shifted his gaze from the art of prose fiction to the craft of screenwriting. Ramón defied the influential belief that cinema was a new, so-called “Seventh Art,” expounded in 1923 by film theorist Ricciotto Canudo, who hailed cinema as “a plastic art in motion,” the new, Seventh Art, proposing that it was a synthesis of three rhythmic arts (music, dance, poetry) and three plastic arts (painting, sculpture, architecture).5 Ramón conceived of film as el séptimo procedimiento or the “seventh method,” where he did not suppose cinema to be a new art but rather a distinct way of producing art.6 Significantly, he viewed this “cinematographic method” ultimately as a literary method, declaring in 1928 in Madrid’s most important cultural magazine, La Gaceta Literaria, that cinema, like “todas las artes son evocación literaria, quieran o no quieran” (“La nueva épica”; all arts are a literary evocation, whether they want to be or not). With this radical idea, Ramón experimented with cinema by revisiting and revising his prior work published in his short fiction collections Greguerías (1917), Disparates (1921), Ramonismo (1923), and Gollerías (1926). It is not known whether Ramón ever completed the script for Buñuel’s proposed film, a project that was ultimately abandoned by the following year and never filmed.7 In any case, Ramón could not resist cinema’s methodological potential because in 1930 he published a film script titled Chiffres in the prestigious Parisian film magazine La Revue du Cinéma.8 Critics believe this script is in part the product of Ramón’s partnership with Buñuel, though Chiffres displayed significant discrepancies from what Buñuel..." @default.
• W4360983350 created "2023-03-30" @default.
• W4360983350 creator A5011136208 @default.
• W4360983350 date "2022-11-01" @default.
• W4360983350 modified "2023-10-17" @default.
• W4360983350 title "Cinema as Method: Re-vision in Ramón Gómez de la Serna's Film Script Cifras (1930)" @default.
• W4360983350 doi "https://doi.org/10.1353/mod.2022.0036" @default.
• W4360983350 hasPublicationYear "2022" @default.
• W4360983350 type Work @default.
• W4360983350 citedByCount "0" @default.
• W4360983350 crossrefType "journal-article" @default.
• W4360983350 hasAuthorship W4360983350A5011136208 @default.
• W4360983350 hasConcept C111472728 @default.
• W4360983350 hasConcept C124952713 @default.
• W4360983350 hasConcept C138885662 @default.
• W4360983350 hasConcept C142362112 @default.
• W4360983350 hasConcept C144024400 @default.
• W4360983350 hasConcept C166957645 @default.
• W4360983350 hasConcept C177897776 @default.
• W4360983350 hasConcept C201280247 @default.
• W4360983350 hasConcept C2778682666 @default.
• W4360983350 hasConcept C2779197502 @default.
• W4360983350 hasConcept C29595303 @default.
• W4360983350 hasConcept C519580073 @default.
• W4360983350 hasConcept C52119013 @default.
• W4360983350 hasConcept C95457728 @default.
• W4360983350 hasConceptScore W4360983350C111472728 @default.
• W4360983350 hasConceptScore W4360983350C124952713 @default.
• W4360983350 hasConceptScore W4360983350C138885662 @default.
• W4360983350 hasConceptScore W4360983350C142362112 @default.
• W4360983350 hasConceptScore W4360983350C144024400 @default.
• W4360983350 hasConceptScore W4360983350C166957645 @default.
• W4360983350 hasConceptScore W4360983350C177897776 @default.
• W4360983350 hasConceptScore W4360983350C201280247 @default.
• W4360983350 hasConceptScore W4360983350C2778682666 @default.
• W4360983350 hasConceptScore W4360983350C2779197502 @default.
• W4360983350 hasConceptScore W4360983350C29595303 @default.
• W4360983350 hasConceptScore W4360983350C519580073 @default.
• W4360983350 hasConceptScore W4360983350C52119013 @default.
• W4360983350 hasConceptScore W4360983350C95457728 @default.
• W4360983350 hasIssue "4" @default.
• W4360983350 hasLocation W43609833501 @default.
• W4360983350 hasOpenAccess W4360983350 @default.
• W4360983350 hasPrimaryLocation W43609833501 @default.
• W4360983350 hasRelatedWork W2327208095 @default.
• W4360983350 hasRelatedWork W2488475265 @default.
• W4360983350 hasRelatedWork W2748952813 @default.
• W4360983350 hasRelatedWork W2899084033 @default.
• W4360983350 hasRelatedWork W2945815495 @default.
• W4360983350 hasRelatedWork W3082311631 @default.
• W4360983350 hasRelatedWork W3193494382 @default.
• W4360983350 hasRelatedWork W3204976137 @default.
• W4360983350 hasRelatedWork W4233104615 @default.
• W4360983350 hasRelatedWork W2339080152 @default.
• W4360983350 hasVolume "29" @default.
• W4360983350 isParatext "false" @default.
• W4360983350 isRetracted "false" @default.
• W4360983350 workType "article" @default.