Semias fílmicas en una novela policiaco-existencial de Mario Lacruz: El inocente (1953)
The history of the relationship between cinema and literature has been constant, and has had as its main topic of interest the study of film adaptations of literary works in the field of comparatism. However, other types of interferences that occur between both media, such as the influence of film c...
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| Formato: | Artículo revista |
| Lenguaje: | spa |
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Universidad Nacional del Litoral
2021
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| Acceso en línea: | https://bibliotecavirtual.unl.edu.ar/publicaciones/index.php/HilodelaFabula/article/view/10568 |
| Sumario: | The history of the relationship between cinema and literature has been constant, and has had as its main topic of interest the study of film adaptations of literary works in the field of comparatism. However, other types of interferences that occur between both media, such as the influence of film codes on literature have been neglected. From this perspective, the purpose of this paper is to demonstrate how Mario Lacruz, in his novel El inocente (1953), uses film semias to construct the narrative point of view, time and space.
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