The Cinematic Novel and Postmodern Pop Fiction

The case of Manuel Puig

| State University of Bahia and Federal University of Bahia
HardboundAvailable
ISBN 9789027204646 | EUR 105.00 | USD 158.00
 
e-Book
ISBN 9789027261816 | EUR 105.00 | USD 158.00
 
Décio Torres Cruz approaches connections between literature and cinema partly through issues of gender and identity, and partly through issues of reality and representation. In doing so, he looks at the various ways in which people have thought of the so-called cinematic novel, tracing the development of that genre concept not only in the French ciné-roman and film scenarios but also in novels from the United States, England, France, and Latin America. The main tendency he identifies is the blending of the cinematic novel with pop literature, through allusions to Pop Art and other postmodern cultural trends. His prime exhibits are a number of novels by the Argentinian writer Manuel Puig: Betrayed by Rita Hayworth; Heartbreak Tango; The Buenos Aires Affair; Kiss of the Spider Woman; and Pubis angelical. Bringing in suggestive sociocultural and psychoanalytical considerations, Cruz shows how, in Puig’s hands, the cinematic novel resulted in a pop collage of different texts, films, discourses, and narrative devices which fused reality and imagination into dream and desire.
[FILLM Studies in Languages and Literatures, 13]  2019.  xv, 325 pp.
Publishing status: Available
Table of Contents
Series editor’s preface
xi–xii
Acknowledgements
xiii
Introduction
1–22
Chapter 1. The cinema(tic) novel: Definitions and brief historical overview
3–78
Chapter 2. Pop Art and Puig’s polyphonic pop narrative
79–113
Chapter 3. From reel to real: The fusion of reality and fiction in Puig’s cinematic discourse in Betrayed by Rita Hayworth
115–145
Chapter 4. Dancing a Heartbreak Tango with Hollywood stars and their Boquitas Pintadas
147–162
Chapter 5. The Buenos Aires Affair
163–178
Chapter 6. The Spider Woman’s polyphonic web of desire
179–216
Chapter 7. Puig’s characters and their mythical identity in Pubis angelical
217–255
Conclusion
257–274
Works cited
275–297
Appendix. Puig’s timeline
299–311
Index
313–325
References

Works cited

Abel, Richard
. “Exploring the Discursive Field of the Surrealist Film Scenario Text.” Dada and Surrealist Film Edited by Rudolf E. Kuenzli. Cambridge, MA: MIT Press 1996.Google Scholar
. French Film Theory and Criticism: 1907–1939. New Jersey: Princeton University Press 1988.Google Scholar
Abrigo, Gonzalo
. “Manuel Puig and the Uncomfortable Latin American Narrative.” M.A. thesis, University of Sidney 2017https://​ses​.library​.usyd​.edu​.au/​/bitstream​/2123​/16902​/1​/abrigo​_g​_thesis​.pdf
Algiers Directed by John Cromwell. Performed by Hedy Lamarr, Charles Boyer, and Sigrid Gurie. USA, United Artists 1938 99 min.Google Scholar
Alloway, Lawrence
. “The Arts and the Mass Media.” Architectural Design Architectural Design, xxviii, (February 2 1958).Google Scholar
. “The Development of British Pop,” chapter 1. In Lucy Lippard, Pop Art. New York: Thames and Hudson 1992 27–53.Google Scholar
Almeida, Rosana (Roã)
. Dor de facão & brevidades: contos e crônicas. Salvador: Self-published 2016.Google Scholar
AMC filmsite: Film Terms Glossary Illustrated, s. v. “cinematic.” Accessed Oct. 13, 2014d. http://​www​.filmsite​.org​/filmterms5​.html
Amícola, José
ed. Estudios Investigaciones: Homenage a Manuel Puig, no. 21, Facultad de Humanidades y Ciencias de la Educación de la Universidad Nacional de la Plata (1994b).Google Scholar
ed. Manuel Puig: Materiales iniciales para La traición de Rita Hayworth. Buenos Aires: Ediciones especiales de la Revista Orbis Tertius 1996http://​repositorio​.filo​.uba​.ar​/handle​/filodigital​/4536Google Scholar
. “La canonización literaria.” Unpublished conference delivered at the University of Göttingen in Germany on February 4 2003, accessed December 27, 2015. http://​sedici​.unlp​.edu​.ar​/bitstream​/handle​/10915​/3247​/Documento​_completo​_-​_Versi%C3%B3n​_en​_castellano​.pdf​?sequence​=2
. “Manuel Puig y la pérdida del aura,” Estudios e Investigaciones 21, Cuadernos de la Facultad de Humanidades y Ciencias de la Educación de la Universidad Nacional de la Plata (1994a): 75–80. http://​www​.memoria​.fahce​.unlp​.edu​.ar​/libros​/pm​.148​/pm​.148​.pdf
. Manuel Puig y la tela que atrapa al lector. Buenos Aires: Grupo Editor Latinoamericano 1992.Google Scholar
. “Puig’s Poetics of Fusion.” In: Balderston, Daniel, and Masiello, Francine. Approaches to Teaching Puig’s Kiss of the Spider Woman. New York: Modern Language Association of America 2007.Google Scholar
. “[Reseña sobre] Levine Suzanne Jill. Manuel Puig and the Spider Woman. His Life and Fictions,” Orbis Tertius, 4 (8) (2001): 213–216, accessed December 27, 2015. http://​www​.memoria​.fahce​.unlp​.edu​.ar​/art​_revistas​/pr​.3846​/pr​.3846​.pdf
Amícola, José and Graciela Esperanza
eds.Encuentro Internacional Manuel Puig,” Orbis Tertius, Publicación especial nº 3 del Centro de Estudios de Teoría y Crítica Literaria de la UNLP. La Plata / Rosario, Beatriz Viterbo 1998.Google Scholar
Amiran, Eyal, and John Unsworth
. Essays in Postmodern Culture. New York: Oxford University Press 1993.Google Scholar
Andersen, Kurt
. “Pop Goes the Culture: A National Knack for the Quick, the Vivid, the Exuberant.” Special Issue, Time: American Best (June 16 1986): 42–48.Google Scholar
Andrea, Mariana
. “El beso de la mujer araña y su transición de la novela (1976) al drama (1983) y al filme (1985). Un enfoque narratológico y decolonial.” M.A. thesis, Oslo University 2015https://​www​.duo​.uio​.no​/handle​/10852​/44855
Andrew, Dudley
. “Adaptation.” In Concepts in Film Theory. New York: Oxford University Press 1984.Google Scholar
Appadurai, Arjun
Aristotle
. Poetics Translated by Richard Janko. Indianapolis and Cambridge: Hacket 1987.Google Scholar
Arnaud, Noël, Francis Lacassin, and Jean Tortel
. Entretiens sur la paralittérature. Paris: Plon 1970.Google Scholar
Arora, Poonam
. “Cinematographic Narrative and Postmodern Fiction: Nabokov, Puig, Doctorow, and the Cine-Novel.” PhD diss., SUNY Binghamton 1991.Google Scholar
Artsy, s. v. “Contemporary Pop.” Accessed April 22, 2015. https://​www​.artsy​.net​/gene​/contemporary​-pop
Astruc, Alexandre
. “The Birth of a New Avant-Garde: La Caméra-Stylo.” In The New Wave: Critical Landmarks Edited by P. Graham. London: BFI 1968 17–23.Google Scholar
Auster, Paul
. The Book of Illusions. New York: Picador 2002.Google Scholar
. City of Glass. New York: Penguin 1987.Google Scholar
Babenco, Héctor
dir. Kiss of the Spider Woman 1985 Performed by William Hurt, Sonia Braga, and Raul Julia. Brazil, Embrafilme; FilmDallas Pictures 1985 DVD. 120 min. 2-Disc Collector’s Edition.Google Scholar
Bacarisse, Pamela
. The Necessary Dream: A Study of the Novels of Manuel Puig. Cardiff: University of Wales Press 1988.Google Scholar
. “Manuel Puig’s sentimiento trágico de la vida.” World Literature Today. The Posthumous Career of Manuel Puig. Vol. 65, no. 4, (Board of Regents of the University of Oklahoma, Autumn 1991): 631–636. https://​www​.jstor​.org​/stable​/40147604
Bakhtin, Mikhail
. Problems of Dostoevsky’s Poetics Edited and translated by Caryl Emerson. Minneapolis: University of Minnesota Press 1984CrossrefGoogle Scholar
Balázs, Béla
. “The Close-Up.” In Film Theory and Criticism. 4 ed. Edited by Gerald Mast, Marshall Cohen, and Leo Braudy. New York: Oxford University Press 1992.Google Scholar
. “The Script.” In Theory of Film: Character and Growth of a New Art. London: Dennis Dobson 1945.Google Scholar
Balderston, Daniel, and Masiello, Francine
. Approaches to Teaching Puig’s Kiss of the Spider Woman. New York: Modern Language Association of America 2007.Google Scholar
Baldwin, James
. One Day When I Was Lost. New York: Vintage Book 2000.Google Scholar
Barnouw, Eric
. Tube of Plenty: The Evolution of American Television. New York: Oxford University Press 1982.Google Scholar
Barthelme, Donald
. “Bone Bubbles.” City Life. New York: Farrar, Straus & Giroux 1970.Google Scholar
Barthes, Roland
. Mythologies Translated by Annette Lavers. New York: Hill and Wang 1987.Google Scholar
Baudelaire, Charles
. Les fleurs du mal et autres poèmes. Paris: Garnier-Flammarion 1964.Google Scholar
Baudrillard, Jean
. Revenge of the Crystal: Selected Writings on the Modern Object and Its Destiny, 1968–1983 Edited and translated by Paul Foss and Julian Pefanis. London: Pluto Press 1990.Google Scholar
Bauman, Zygmunt
. “Postmodernity, or Living with Ambivalence.” A Postmodern Reader Edited by Joseph Natoli and Linda Hutcheon. Albany, NY: State of New York University Press 1993.Google Scholar
Bazin, André
. “Theater and Cinema.” In Film Theory and Criticism Edited by Gerald Mast, Marshall Cohen, and Leo Braudy. New York: Oxford University Press 1992.Google Scholar
Beach, Joseph Warren
. The Twentieth Century Novel. New York: Appleton Century Crofts 1932.Google Scholar
. The Technique of Thomas Hardy. Chicago: University of Chicago Press 1922.Google Scholar
Beaman, Michael
, “Like a Woman: Playing the Homosexual as Truth in Kiss of the Spider Woman.” Orlando: University of Central Florida 2009 Electronic Theses and Dissertations. 4147. http://​stars​.library​.ucf​.edu​/etd​/4147
Bear, Greg
. Hull Zero Three. London: Orbit 2010.Google Scholar
Beatles
. Yellow Submarine. Cambridge, MA: Candlewick Press 2004.Google Scholar
Beckett, Samuel
. Today/Aujourd’hui. Amsterdam: Editions Rodopi B.V. 1992.Google Scholar
Beja, Morris
. Film and literature: an Introduction. New York: Longman 1979.Google Scholar
Benjamin, Walter
. Illuminations Edited by Hannah Arendt Translated by Harry Zohn. New York: Schocken Books 1968.Google Scholar
. “Modernidade,” Tempo Brasileiro Translated into Portuguese by Heidrun Krieger Mendes da Silva. (Rio de Janeiro), no. 26–27 (jan./mar. 1971): 7–39.Google Scholar
Benner, William R.
The Spacing of Bodies in Heartbreak Tango (1969) and The Kiss Of The Spider Woman (1976) by Manuel Puig.” M.A. thesis, College of Charleston 2006https://​scholarcommons​.sc​.edu​/etd​/1945/
Bennett, Robert Jackson
. “The Cinematic Novel,” Wordpress.com. Consulted Sept. 29, 2014. http://​robertjacksonbennett​.wordpress​.com​/2011​/07​/22​/the​-cinematic​-novel/. (site discontinued).
Bergson, Henri
. “L’Évolution créatice”. In Oeuvres Edited by André Robinet. Paris: Presses Universitaires de France 1963 pp. 487–809Google Scholar
Best, Steven and Douglas Kellner
. Postmodern Theory: Critical Interrogations. New York: The Guilford Press 1991CrossrefGoogle Scholar
Blake, Peter Thomas
. Peter Blake: [catalogue of an exhibition, 17 Nov. – 13 Dec. 1969]. Bristol: Bristol City Art Gallery [1969].Google Scholar
Blossoms in the Dust Directed by Mervyn LeRoy Performed by Greer Garson, Walter Pidgeon and others. USA, MGM 1941 99 min.Google Scholar
Blue Dahlia Directed by George Marshall Performed by Veronica Lake, Alan Ladd, and others. USA, Paramount Pictures 1946 96 min.Google Scholar
Bluestone, George
. Novels into Film: The Metamorphosis of Fiction into Cinema. Baltimore: Johns Hopkins Press 1957.Google Scholar
. “The limits of the novel and the limits of the film.” In Film and/as literature Edited by John Harrington. Englewood Cliffs, N.J.: Prentice-Hall 1977 137–150.Google Scholar
Boon, Kevin Alexander
. Script Culture and the American Screenplay. Detroit: Wayne State University Press 2008Project MUSE. Accessed 4 Apr. 2015. https://​muse​.jhu​.edu/
Boquitas pintadas Directed by Leopoldo Torre Nilsson. Performed by Alfredo Alcón, Marta Yolanda González, Luisina Brando, and others. Argentina, Films Group SPL 1974 DVD. Video Dub/Video Digital 2007 120 min.Google Scholar
Bordwell, David
. Narration in the Fiction Film. Madison, Wisconsin: University of Winsconsin Press 1985.Google Scholar
Borges, Jorge Luis
. “Pierre Menard, Author of Quixote”. In Ficciones. New York: Grove Widenfeld 1962 45–55.Google Scholar
. Labyrinths: Selected Stories and Other Writings. New York: New Directions 1962.Google Scholar
Brait, Beth
. A personagem. São Paulo: Ática 1985 (Série Princípios, 3).Google Scholar
Branco, Camilo Castelo Branco
. Amor de Perdição. São Paulo: Ática 1998.Google Scholar
. Love of Perdition (Memoirs of a Family) Translated by António de Albuquerque. Kindle. Dorval, QC: Nulla Publishing 2016.Google Scholar
Braudy, Leo
. “Acting Stage vs. Screen.” In The World in a Frame. 2nd. ed. Chicago: University of Chicago Press 1984Google Scholar
Bride of Frankenstein Directed by James Whale. Performed by Boris Karloff, Elsa Lanchester, Colin Clive and others. USA, Universal Pictures 1935 75 min.Google Scholar
Brock, Patrick
. Textorama. São Paulo: Edições K 2004.Google Scholar
Bukowski, Charles
. Hollywood. Santa Rosa, CA: Black Sparrow Press 1989.Google Scholar
Burroughs, William S.
Blade Runner, A Movie. Berkeley: Blue Wind Press 1994.Google Scholar
The Last Words of Dutch Schultz: A Fiction in the Form Of a Film Script. New York: The Viking Press 1975.Google Scholar
Butor, Michel
. La Modification. Paris: Les éditions de minuit 1957.Google Scholar
Cahiers du cinéma. Accessed 20 June, 2014. http://​www​.cahiersducinema​.com​/-Archives​-.html (site discontinued). New site: https://​www​.cahiersducinema​.com/
Cahiers du 20e siècle: Cinema et littérature. (Paris) n. 9, Klincksieck (1978) 166p.Google Scholar
Calil, Carlos Augusto
. “Cinema = cavação: Cendroswald produções cinematográficas.” Revista do Instituto de Estudos Brasileiros. (São Paulo), n. 47, (set. 2008): 13–28. Accessed Oct. 15, 2014. http://​producao​.usp​.br​/handle​/BDPI​/32355
Calvino, Italo
. t zero Translated by William Weaver. San Diego: Harcourt Brace 1967.Google Scholar
Camille. Directed by George Cukor. Performed by Greta Garbo, Robert Taylor, Lionel Barrymore and others. USA, MGM 1936 109 min.Google Scholar
Capote, Truman
. In Cold Blood. New York: Vintage Books 1993.Google Scholar
Carou, Alain
. “Le celluloïd et le papier: Les livres tirés des films d’Abel Gance.” 1895. Mille huit cent quatre-vingt-quinze: Revue de l’association française de recherche sur l’histoire du cinéma (AFRHC), 31 (2000) Accessed Oct. 14, 2014. http://​1895​.revues​.org​/62. Crossref
Castillo, Carolina
. “Manuel Puig y la novela de la conversación: El gesto de un narrador vanguardista,” Espéculo: Revista de estudios literários 28. (Universidade Complutense de Madrid) (2009–2010): [no page number]. Accessed May 27, 2018. http://​www​.ucm​.es​/info​/especulo​/numero28​/narvang​.html
Cat People Directed by Jacques Tourneur. Performed by Simone Simon, Kent Smith, Jane Randolph and others. USA, RKO 1942 73 min.
Cattrysse, P.
Film (Adaptation) as Translation: Some Methodological Proposals.” Target 4.1 (1992): 53–70. CrossrefGoogle Scholar
Cendrars, Blaise
. Les Confessions de Don Yack. Vol. 5 of Oeuvres Complètes Edited by Nino Frank. Paris: Club français du livre 1969 16 vols.Google Scholar
. L’or: La merveilleuse histoire du général Johann August Suter. Paris: Denoël 1960.Google Scholar
. “L’ABC du cinéma.” Aujourd’hui. Vol. 6 of Oeuvres Complètes Edited by Nino Frank. Paris: Club français du livre 1969 16 vols. 20–24.Google Scholar
. La fin du monde, filmée par l’ange N.-D. Préface de l’Auteur. Paris: Pierre Seghers 1949.Google Scholar
. La fin du monde, filmée par l’ange N.-D. Illustrations Fernand Léger. Paris: Editions de la Siréne 1919 Accessed January 15, 2019. https://​rdc​.reed​.edu​/c​/artbooks​/home​/cendrars​-leger. Formerly (Oct. 14, 2014) available at: http://​cdm​.reed​.edu​/cdm4​/artbooks​/cendrars​_leger​.php
. La perle fiévreuse. Paris: Denoël 1962.Google Scholar
. Hollywood: La Meque du cinéma. Paris: Les Cahiers rouges 1983.Google Scholar
Christ, Ronald, and Manuel Puig
. “An Interview with Manuel Puig.” Partisan Review 44 (1977): 56Google Scholar
. “A Last Interview with Manuel Puig.” World Literature Today. Vol. 65, No. 4, The Posthumous Career of Manuel Puig, Board of Regents of the University of Oklahoma, (Autumn 1991), pp. 571–578. https://​www​.jstor​.org​/stable​/40147594. doi: Crossref
Cieply, Michael
. “Movie’s Owners Want to Know if a Film Is Fit for Framing,” New York Times, July 9 2010 Accessed June 23, 2018. https://​www​.nytimes​.com​/2010​/07​/10​/movies​/10spider​.html
Citizen Kane Directed by Orson Welles. Performed by Orson Welles, Joseph Cotton, Dorothy Comingore, and others. USA, Mercury Productions/RKO 1941 119 min.Google Scholar
Dictionary.com, s. v. “cinematic.” Accessed Oct. 6, 2014c. http://​dictionary​.reference​.com​/browse​/cinematic
Coelho, Teixeira
. O que é indústria cultural. São Paulo: Brasiliense 1980.Google Scholar
Cohen, Joshua
. “Mario Vargas Llosa’s ‘Notes on the Death of Culture’.” New York Times. Sunday Book Review. Accessed Aug. 17, 2015. https://​www​.nytimes​.com​/2015​/08​/23​/books​/review​/mario​-vargas​-llosas​-notes​-on​-the​-death​-of​-culture​.html
Coleman, Alexander
. “Betrayed by Rita Hayworth.” New York Times on the Web: Books. Sept. 26 1971 Accessed Dec. 27, 2015. https://​www​.nytimes​.com​/books​/00​/08​/13​/specials​/puig​-rita​.html
Colmeiro, José F.
Lenguajes propios y lenguajes apropiados en The Buenos Aires Affair de Manuel Puig.” Hispanic Review 57.2 (1989): 165–188. CrossrefGoogle Scholar
Comenas, Gary
. “Interview with John McHale (Jr.), the son of the ‘Father of Pop,’” Warholstars.org. July 2006 Accessed January 9, 2019. http://​www​.warholstars​.org​/articles​/johnmchale​/johnmchale​.html
Compton, Michael
. Pop Art. New York: The Hamlyn Publishing Group 1970.Google Scholar
Cook, David
. A History of Narrative Film. New York: W.W. Norton 1990.Google Scholar
Corbatta, Jorgelina
. “A Conversation with Manuel Puig.” The Review of Contemporary Fiction, (Fall 1991), Vol. 11.3. Dalkey Archive Press. https://​www​.dalkeyarchive​.com​/a​-conversation​-with​-manuel​-puig​-by​-jorgelina​-corbatta​-translated​-and​-adapted​-by​-ilan​-stavans/
. Mito personal y mitos colectivos en las novelas de Manuel Puig. Madrid: Editorial Origenes 1988.Google Scholar
Corrigan, Timothy
. Film and Literature: An Introduction and Reader. Upper Saddle River, NJ: Prentice Hall 1999.Google Scholar
Crane, Stephen
. The Red Badge of Courage. St. Paul, MN: EMC Paradigm 2000.Google Scholar
Cruz, Décio Torres
. “A narrativa pop.” M.A. Thesis, Universidade Federal da Bahia 1986.Google Scholar
. O Pop: Literatura, mídia & outras artes. 2 ed. Salvador: Quarteto 2013.Google Scholar
. “Pop literature and mass media.” In Percorsi italo-brasiliani: Dieci anni di convenzione UdA-UFBA edited by Silvia La Regina, 45–68. Rome: Aracne 2011.Google Scholar
. Postmodern Metanarratives: Blade Runner and Literature in the Age of Image. Basingstoke, UK: Palgrave Macmillan 2014CrossrefGoogle Scholar
Dabove, Juan Pablo
. “Kiss of the Spider Woman and the Demise of the Lettered City.” In Approaches to Teaching Puig’s Kiss of the Spider Woman Edited by Daniel Balderston and Francine Masiello. New York: Modern Language Association of America 2007 91–100.Google Scholar
Debord, Guy
. Society of the Spectacle. Detroit: Black & Red 1983.Google Scholar
Der Kaiser von Kalifornien. [The Emperor of California] Directed by Luis Trenker. Performed by Luis Trenker, Viktoria von Ballasko, and Werner Kunig. Germany, Luis Trenker-Film/Tobis Rota 1936 97 min.Google Scholar
Derrida, Jacques
. “Plato’s Pharmacy”. In Dissemination Translated by Barbara Johnson. Chicago, University of Chicago Press 1981.Google Scholar
. Writing and Difference Translation and Introduction by Alan Bass. Chicago: University of Chicago Press 1978.Google Scholar
Dick, Philip K.
Do Androids Dream of Electric Sheep? New York: Ballantine Books [1968] 1996.Google Scholar
Blade Runner (Do Androids Dream of Electric Sheep?). New York: Ballantine Books 1982.Google Scholar
Blade Runner: Perigo iminente Trans. Raquel Martins. 2. ed. Lisboa: Europa-América 1968.Google Scholar
Dinner at Eight. Directed by George Cukor. Performed by Marie Dressler, John Barrymore, Wallace Beery, Jean Harlow, and others. USA, MGM 1933 113 min.Google Scholar
Docherty, Thomas
ed. Postmodernism: a reader. New York: Columbia University Press 1993.Google Scholar
Donogoo Tonka. Die geheimnisvolle Stadt Directed by Reinhold Schünzel Performed by Anny Ondra and Viktor Staal. UFA, Germany 1936.Google Scholar
Donogoo Tonka. Installation by Rinus Van de Velde. at the S.M.A.K. museum in Ghent, Belgium, from March 5 2016 to June 5 2016 Accessed May 25, 2018. http://​smak​.be​/en​/exhibition​/8761
Donogoo Tonka. Video of the installation by Rinus Van de Velde. https://​www​.youtube​.com​/watch​?v​=vygU26JuZpE. Accessed May 25, 2018.
Donoso, José
. ‪The Boom in Spanish American Literature: A Personal History. New York: Columbia University Press 1977.Google Scholar
A Double Life Directed by George Cukor. Performed by Ronald Colman and Signe Hasso. USA, Universal 1947 104 min.Google Scholar
Drach, Inna
. “The Difference between Cinematic and Montage Novels and the Nature of Literary Montage,” Narratological Concepts across Languages and Cultures. Amsterdam International Journal for Cultural Narratology (AJCN). No 7–8 (Autumn 2012– Autumn 2014): 160–165. http://​cf​.hum​.uva​.nl​/narratology​/issue​/7​/pdf​/160​-165​_Drach​.pdf. Accessed June 23, 2018.
Drummond, Roberto
. A morte de D.J. em Paris. São Paulo: Ática 1982.Google Scholar
. O dia em que Ernest Hemingway morreu crucificado. São Paulo: Ática 1978.Google Scholar
. Quando fui morto em Cuba. 2 ed. São Paulo: Ática 1982a.Google Scholar
. Sangue de Coca-Cola. São Paulo: Ática 1982b.Google Scholar
Dumas, Alexander
. La dame aux camélias. La Bibliothèque électronique du Québec. Collection À tous les vents . Vol. 750: version 2.0. Édition de référence: Paris: Nelson Éditeurs/Calmann-Lévy Éditeurs 1852 Accessed Dec. 15, 2014. http://​beq​.ebooksgratuits​.com​/vents​/Dumas​-fils​-camelias​.pdf
Echevarren, Roberto
. “ El beso de la mujer araña y las Metáforas del Sujeto.” Revista Iberoamericana, 44, no. 102–103 (1978) 65–75. CrossrefGoogle Scholar
Eidsvik, Charles
. “Demonstrating Film Influence.” Literature/Film Quarterly 1 (1973): 113–121.Google Scholar
Einstein, Albert & Leopold Infeld
. The Evolution of Physics: From Early Concepts to Relativity and Quanta. New York: Simon and Schuster 1966.Google Scholar
Eisenstein, Sergei
. Film Form: Essays in Film Theory Edited and translated by Jay Leyda. New York: Meridian Books 1957.Google Scholar
El canto del cisne (Swan Song). Directed by Carlos Hugo Christensen. Performed by Mecha Ortiz, Roberto Escalada, Miguel Gómez Bao, and others. Argentina, Lumiton 1945 109 min.Google Scholar
Eliade, Mircea
. Le sacré et le profane. Paris: Gallimard 1965.Google Scholar
. Myth and Reality Translated by Willard R. Trask. New York: Harper & Row 1968.Google Scholar
. Mythes, rêves et mysteres. Les essais LXXXIV. Paris: Gallimard 1957.Google Scholar
Elliot, George
. The Essays of “George Eliot.” Complete Edited by Nathan Sheppard. New York: Funk & Wagnalls 1883 Project Gutenberg. [eBook #28289]. http://​www​.gutenberg​.org​/files​/28289​/28289​-h​/28289​-h​.htm
Elliott, Kamilla
. Rethinking the Novel/Film Debate. Cambridge: Cambridge University Press 2003.Google Scholar
Eltringham, Mark
. “The audience is no longer a passive consumer of content, but an active creator of it,” Linkedin, December 11 2014 Accessed June 6, 2018. https://​www​.linkedin​.com​/pulse​/audience​-longer​-passive​-content​-mark
The Enchanted Cottage Directed by John Cromwell. Performed by Dorothy McGuire, Mildred Natwick, and Robert Young. USA, RKO 1945 91 min.Google Scholar
Entr’acte Directed by René Claire. Performed by Jean Börlin, Francis Picabia, Erik Satie, Rolf de Maré and Marcel Duchamp. France 1924 22 min.Google Scholar
Epple, Juan Armando
. “The Buenos Aires Affair, la estructura de la novela policíaca.” La palabra y el Hombre 18 (1976): 43–59.Google Scholar
Erickson, Steve
. Amnesiascope. New York: Open Road 2013 Kindle Edition.Google Scholar
. Arc d’X. New York: Open Road 2013 Kindle Edition.Google Scholar
. Days between Station: a Novel. New York: Open Road 2013 Kindle Edition.Google Scholar
. The Sea Came in at Midnight. New York: Open Road 2013 Kindle Edition.Google Scholar
. Zeroville. New York: Open Road 2013 Kindle Edition.Google Scholar
Far from the Madding Crowd Directed by Laurence Trimble. Performed by Florence Turner and Henry Edwards. UK, Turner Films 19165 reels.Google Scholar
Farrell, Thomas J.
Feuerbach, Ludwig
. The Essence of Christianity Translated by George Eliot. New York: Harper Torchbooks 1957.Google Scholar
Fiedler, Leslie
. “The New Mutants.” A Fiedler Reader. New York: Stein and Day 1977.Google Scholar
Finkielman, Jorge
. The Film Industry in Argentina: An Illustrated Cultural History. London: McFarland & Company, Inc. 2004.Google Scholar
Fitzgerald, Scott
. The Last Tycoon. London: Penguin 2001.Google Scholar
Flaubert, Gustave
. Madame Bovary. New York: Bantam Dell 2005CrossrefGoogle Scholar
Foster, Hal
dir. The Anti-Aesthetic: Essays on Postmodern Culture. Port Townsend, WA: Bay Press 1983.Google Scholar
Foucault, Michel
. The History of Sexuality: An Introduction. Vol. 1 Translated by Robert Hurley. New York: Vintage Books 1990.Google Scholar
. The Order of Things: An Archaeology of the Human Sciences. New York: Vintage Books 1994.Google Scholar
The Fountainhead Directed by King Vidor. Performed by Gary Cooper, Patricia Neal, and others. USA, Warner Bros. 1949 114 min.Google Scholar
Freud, Sigmund
. “Analysis of a Phobia in a Five-Year-Old Boy.” Collected Papers. Vol. 3 Translated by Joan Riviere. New York: Basic Books 1959a.Google Scholar
. Civilization and Its Discontents. The Standard Edition Translated and edited by James Strachey. Intro. Peter Gay. New York and London: W.W. Norton Company 1989b.Google Scholar
. “Fetishism.” Sexuality and the Psychology of Love Edited by Philip Rief. New York: Collier Books 1963.Google Scholar
. The Freud Reader Ed. Peter Gay. New York: W.W. Norton 1995.Google Scholar
. “The Future of an Illusion.” The Freud Reader Edited by Peter Gay. New York and London: W. W. Norton 1989d 685–722.Google Scholar
. The Interpretation of Dreams Translated and edited by James Strachey. New York: Avon Books 1965.Google Scholar
. Jokes and Their Relation to the Unconscious. The Standard Edition Translated and edited by James Strachey. Intro. Peter Gay. New York and London: W.W. Norton Company 1989c.Google Scholar
. “Repression.” Collected Papers. Vol. 4 Translated by Joan Riviere. New York: Basic Books, Inc. 1959b.Google Scholar
. Totem and Taboo: Some Points of Agreement between the Mental Lives of Savages and Neurotics Translated by James Strachey. Intro. Peter Gay. New York: W.W. Norton 1989a.Google Scholar
. “The Uncanny.” Collected Papers. Vol. 4 Translated by Joan Riviere. New York: Basic Books, Inc. 1959c.Google Scholar
Freud, Sigmund, and Josef Breuer
. Studies on Hysteria Translated and edited by James Strachey. In collaboration with Anna Freud. New York: Basic Books 1955.Google Scholar
Friedman, Vitaly
Frost, Derek Trowbridge
, “From screen to page: Manuel Puig and the rewriting of Hollywood cinema” Ph.D. dissertation, University of Conecticut 1996Paper AAI9708031. Accessed Jan. 22, 2016. http://​digitalcommons​.uconn​.edu​/dissertations​/AAI9708031
, “Transcription, Invention and Fraudulence; Simulated Cinema in the Epitaphs of The Buenos Aires Affair .” Revista Hispánica Moderna, vol. 51, no. 2 1998, 354–367.Google Scholar
Fulton, A. R.
From Novel to Film.” In Film and/as literature Edited by John Harrington. Englewood Cliffs, N.J.: Prentice-Hall 1977.151–155.Google Scholar
Motion Pictures: The Development of an Art from Silent Films to the Age of Television. Oklahoma UP 1960.Google Scholar
Funny Girl. Directed by William Wyler. Performed by Barbra Streisand, Omar Sharif, Kay Medford, and others. USA, Columbia Pictures 1968 149 min.Google Scholar
Gance, Abel
dir. J’Accuse. Performed by Romuald Joubé and Séverin-Mars. France, Pathè Fréres/United Artists 1918Silent. 166 min. Accessed Oct. 15, 2014. http://​www​.youtube​.com​/watch​?v​=VDSyEiQQoeE
dir. La roue Directed by Abel Gance Performed by Ivy Close, Pierre Magnier, and others. France 1923 273 min.Google Scholar
. J’Accuse (découpage). Filma 67. May 1920 Reprinted in Virmaux, Le Ciné-roman, 130.Google Scholar
Gance, Abel.
J’Accuse. Tragédie des temps modernesAdapted by Edmond Gojon. Supplement of L’Afrique du Nord Illustrée. No. 10. Alger, Imprimerie Orientale, Fontana Fréres, June 1st 1919.Google Scholar
Gass, William
. “Philosophy and the Form of Fiction.” Fiction and the Figures of Life. Boston: David R. Godiner 1970.Google Scholar
. Willie Masters Lonesome Wife. Designed by Lawrence Levy. Photography by Burton L. Rudman. N.p.: Dalkey Archive 1992.Google Scholar
Geldzahler, Henry
. Pop Art 1955–70 [n.p.]: The International Cultural Corporation of Australia 1985.Google Scholar
Gide, André
. La sinfonie pastorale. Ebooks libres et gratuites [1919] 2005http://​www​.ebooksgratuits​.com​/pdf​/gide​_symphonie​_pastorale​.pdf.
Gilda Directed by Charles Vidor. Performed by Rita Hayworth, Glenn Ford, and others. USA, Columbia Pictures 1946 110 min.Google Scholar
Giordano, Alberto
. Manuel Puig, La conversación infinita. Rosário: Beatriz Viterbo 2001.Google Scholar
Goll, Iwan
. Die Chapliniade. Eine Kinodichtung (Filmdichtung). Mit vier Zeichnunger von Fernand Léger. Dresden: Rudolf Kaemmerer Verlag 1920.Google Scholar
Gone with the Wind Directed by Victor Fleming Performed by Clark Gable, Vivien Leigh, Leslie Howard, and others. USA, Selznick International Pictures/MGM 1939 221 min.Google Scholar
Grand Hotel Directed by Edmund Goulding Performed by Greta Garbo, John Barrymore, Joan Crawford and others. USA, MGM 1932 112 min.Google Scholar
The Great Waltz Directed by Julien Duvivier, Victor Fleming, and Josef von Sternberg. Performed by Luise Rainer, Fernand Gravet, and opera soprano Miliza Korjus. USA, MGM 1938 104 min.Google Scholar
The Great Ziegfeld Directed by Robert Leonard. Performed by William Powell, Myrna Loy, Luise Rainer, and others. MGM, USA 1936 177m.Google Scholar
Grisson, Candace Ursula
. Fitzgerald and Hemingway on Film: A Critical Study of the Adaptations. 1924–2013. Jefferson, NC: McFarland and Company 2014.Google Scholar
Gun Crazy Directed by Joseph H. Lewis. Performed by Peggy Cummins and John Dall. USA, United Artists 1950 86 min.Google Scholar
Gusdorf, Georges
. Mythe et metaphysique. Introduction a la philosophie. Paris: Flammarion 1953.Google Scholar
Habermas, Jürgen
. “Modernity versus Postmodernity.” A Postmodern Reader Ed. Joseph Natoli and Linda Hutcheon. Albany: State of New York University Press 1993.Google Scholar
Hall, Kenneth Estes
. “The Function of Cinema in the Works of Guillermo Cabrera Infante and Manuel Puig (Cuba, Argentina)” PhD diss., University of Arizona 1986 Accessed May 23, 2018. https://​repository​.arizona​.edu​/handle​/10150​/188187
Hall, Stuart
. “The Question of Cultural ldentity.” In Modernity: An Introduction to Modern Societies edited by Stuart Hall et al., 596–634. Oxford: Blackwell 1996.Google Scholar
Hall, Stuart et al.
eds. Modernity: An Introduction to Modern Societies. Oxford: Blackwell 1996.Google Scholar
Hamilton, Richard
. Collected Words, 1953–1982. London: Thames and Hudson 1982.Google Scholar
Hamon, Philippe
. “Pour un statut sémiologique du personage.” Littérature, 6 (1972): 86–110. https://​www​.persee​.fr​/doc​/litt​_0047​-4800​_1972​_num​_6​_2​_1957
Hardy, Thomas
. Far from the Madding Crowd. New York: Henry Holt and Company 1874.Google Scholar
. The Mayor of Castebridge. London: Sovereign Classic 2014.Google Scholar
. Tess of the D’Urbervilles Ed. Sarah E. Maier. 2 ed. Buffalo, NY: Broadway Editions 2013.Google Scholar
Harrington, John
. Film and/as literature. Englewood Cliffs, N.J.: Prentice-Hall 1977.Google Scholar
Harrison, Stephanie
ed. Adaptations: from Short Story to the Big Screen: 35 Great Stories that Have Inspired Great Films. New York: Three Rivers Press 2005.Google Scholar
Harvey, David
. The Condition of Postmodernity: An Enquiry into the Origins of Cultural Change. Cambridge, MA: Blockwell 1990.Google Scholar
Haskell, John
. American Purgatorio. Picador (Farrar, Straus, and Giroux) 2005.Google Scholar
. I Am Not Jack Pollack. New York: Picador (Farrar, Straus, and Giroux) 2004.Google Scholar
Hazera, Lydia D.
Cinematic Influences in the Works of Cabrera Infante, Puig, and Vargas Llosa.” New Orleans Review, vol. 12, no. 3 1985: 43–52.Google Scholar
Hegel, Georg Wilhelm Friedrich
. The Phenomenology of Spirit translated and edited by Terry Pinkard. New York: Cambridge University Press 2018.Google Scholar
Higgins, Kathleen Marie
. Comic Relief: Nietzsche’s Gay Science. New York; Oxford: Oxford University Press 2000.Google Scholar
Hindle, Maurice
. Studying Shakespeare on Film. New York: Palgrave MacMillan 2007.Google Scholar
Hoisel, Evelina
. Supercaos: os estilhaços da cultura em PanAmérica e Nações Unidas. 2 ed. Belo Horizonte: Ed. UFMG 2014.Google Scholar
. Supercaos: os estilhaços da cultura em PanAmérica e Nações Unidas. Rio de Janeiro: Civilização Brasileira; Salvador: FCEB 1980.Google Scholar
Horace
. Satires, Epistles, and Ars Poetica Translated by H. Rushton Fairclough. London: William Heinemann 1942.Google Scholar
Horkheimer, Max, and Theodor W. Adorno
. Dialectic Of Enlightenment: Philosophical Fragments Edited by Gunzelin Schmid Noerr Translated by Edmund Jephcott. Stanford: Stanford University Press 2002.Google Scholar
Humoresque Directed by Jean Negulesco Performed by Joan Crawford, John Garfield, and others. USA, Warner Bros. 1946 125 min.Google Scholar
Humphrey, Robert
. Stream of consciousness in the modern novel. Berkeley: University of California Press 1968.Google Scholar
Hutcheon, Linda
. A Poetics of Postmodernism: History, Theory, Fiction. New York and London: Routledge 1988CrossrefGoogle Scholar
. A Theory of Adaptation. New York: Routledge 2006CrossrefGoogle Scholar
Huxley, Aldous
. Brave New World. New York and London: Harper & Brothers 1946.Google Scholar
I’ll Cry Tomorrow Directed by Daniel Mann. Performed by Susan Hayward, Richard Conte and others. USA, MGM 1955 119 min.Google Scholar
In a Lonely Place Directed by Nicholas Ray Performed by Humphrey Bogart and Gloria Grahame. USA, Columbia Pictures 1950 94 min.Google Scholar
Infante, G. Cabrera
. Three Trapped Tigers. New York: Harper & Row 1981 348–358.Google Scholar
I Walked with a Zombie Directed by Jacques Tourneur. Performed by James Ellison, Frances Dee, and Tom Conway. USA, RKO 1943 69 min.Google Scholar
Jackson, Russell
ed. The Cambridge Companion to Shakespeare on Film. 2 ed. Cambridge University Press 2007CrossrefGoogle Scholar
James, William
. Principles of Psychology. Adelaide: University of Adelaide 2014 Accessed Dec. 17, 2018. https://​ebooks​.adelaide​.edu​.au​/j​/james​/william​/principles/
Jameson, Frederic
. Postmodernism or the Cultural Logic of Late Capitalism. Durham: Duke University Press 1995.Google Scholar
Jamieson, Lee
. “The Lost Prophet of Cinema: The Film Theory of Antonin Artaud.” Senses of Cinema 44. (August 2007): n. p. Accessed April 4 2015 http://​sensesofcinema​.com​/2007​/feature​-articles​/film​-theory​-antonin​-artaud/
Jencks, Charles
. What is Post-Modernism? New York and London: Academy Editions, St. Martins Press 1986.Google Scholar
Jeter, K. W.
Blade Runner 2: The Edge of Human. New York: Bantam Books 1995.Google Scholar
Blade Runner 3: Replicant Night. New York: Bantam Books 1996.Google Scholar
Blade Runner 4: Eye and Talon. London: Gollancz 2001.Google Scholar
Jirgens, Karl
. “Lacan, Jacques-Marie Emile.” Encyclopedia of Contemporary Literary Theory: Approaches, Scholars, Terms Edited by Irena, R. Makaryk. Toronto University Press 1993 396–399.Google Scholar
Josephson-Storm, Jason Ā.
. The Myth of Disenchantment: Magic, Modernity, and the Birth of the Human Sciences. Chicago: Chicago University Press 2017.Google Scholar
Joyce, James
. A Portrait of the Artist as a Young Man. New York: The Viking Press 1967.Google Scholar
. Finnegans Wake. New York: Penguin Books 1967.Google Scholar
. Ulysses. New York: The Modern Library 1946.Google Scholar
Jungle Princess Directed by William Thiele Performed by Dorothy Lamour, Ray Millard, Ray Mala and others. USA, Paramount Pictures 1936 85 min.Google Scholar
Karetnikova, Inga, and Susanna Barber
. “Cinematic Qualities in the Novel Kiss of the Spider Woman.” Literature/Film Quarterly, vol. 15, no. 3 (1987): 164–168.Google Scholar
Kellman, Steven G.
The Cinematic Novel: Tracking a Concept.” Modern Fiction Studies 33, no. 3 (Autumn 1987): 467–77. CrossrefGoogle Scholar
Kellner, Douglas
. Media Culture: Cultural studies, identity and politics between the modern and the postmodern. London and New York: Routledge 1995CrossrefGoogle Scholar
Kerr, Lucille
. Suspended Fictions: Reading Novels by Manuel Puig. Urbana and Chicago: University of Illinois Press 1987.Google Scholar
Kim, Jihye
. “Aesthetics of Threading Beyond Dichotomical Boundaries: Reading Manuel Puig’s “Kiss of the Spider Woman” – Spinning across the Binaries: A critical Reading of Manuel Puig’s Novel “Kiss of the Spider Woman.” English and American Literature Feminism, Vol.24, no.2 (2016) http://​www​.riss​.kr​/search​/detail​/DetailView​.do​?p​_mat​_type​=1a0202e37d52c72d​&control​_no​=6562b37542d19b2b47de9c1710b0298d
Kiss of the Spider Woman Directed by Hector Babenco. Performed by Sonia Braga, Raul Julia, and William Hurt. Brazil/USA., Embrafilmes/FilmDallas Pictures 1985 DVD. 2-Disc Collector’s Edition 1995 120 min.Google Scholar
Kiss of the Spider Woman. Music John Kander and Fred Ebb. Book by Terence McNally. West End, London: 1992; Broadway and New York 1993.Google Scholar
Kluge, Alexander, Edgar Reitz, and Wilfried Reinke
1965 “Word and Film.” In Film and Literature: An Introduction and Reader. Edited by Timothy Corrigan 1999 Upper Saddle River, NJ: Prentice Hall.Google Scholar
Kosinski, Jerzy N.
Being There. New York: Harcourt Brace Jovanovich [c1970].Google Scholar
Steps. New York: Grove Press 1968.Google Scholar
The Art of the Self: Essays à Propos “Steps.” New York: Scientia Factum 1968.Google Scholar
Kovács, Steven
. From Enchantment to Rage: The Story of Surrealist Cinema. Madison, NJ: Fairleigh Dickinson University Press 1980.Google Scholar
Kroll, Richard
(org.) The English Novel: Stollett to Austen. Volume II. New York: Routledge 1998.Google Scholar
Kundu, Gautam
. Fitzgerald and the Influence of Film: The Language of Cinema in the Novels. Jefferson, NC: McFarland 2008.Google Scholar
Laaouina, Abderrahman
. “Manuel Puig: Kiss of the Spider Woman o La Dimensión Metacinematográfica.” Espéculo: Revista De Estudios Literarios, vol. 32, no. 32 (2006): no pagination. Accessed Dec. 11, 2018. http://​webs​.ucm​.es​/info​/especulo​/numero32​/puigkiss​.html
Lacan, Jacques
. Écrits: A Selection Translated by Alan Sheridan. New York: W.W. Norton 1977.Google Scholar
. The Four Fundamental Concepts of Psychoanalysis Translated by Alan Sheridan. New York: W.W. Norton 1981.Google Scholar
La Coquille et le Clergyman [The Seashell and the Clergyman]. Directed by Germaine Dulac. Text Antonin Artaud. Performed by Alex Allin, Genica Athanassiou, and Lucien Bataille. France, Délia Films 1928 41 min.Google Scholar
Lagerroth, Ulla Britta, Hans Lund, and Erik Hedlin
eds. Interart Poetics: Essays on the Interrelations of the Arts and Media. Amsterdam and Atlanta: Rodopi 1997.Google Scholar
Lakin, C. S.
Cinematic Techniques to Supercharge Your Novel. Morgan Hill, CA: Ubiquitous Press 2014.Google Scholar
Using a Cinematic Lens in Writing a Novel ~ Part 1.” May 30 2011Oct. 1 2014 http://​cslakin​.blogspot​.com​.br​/2011​/05​/using​-cinematic​-lens​-in​-writingnovel​.html. (site discontinued. Please see Shoot Your Novel below)
Laplanche, J. and J.-B. Pontalis
. The Language of Psychoanalysis Translated by Donald Nicholson-Smith Introduction by Daniel Lagache. New York: W. W. Norton 1973.Google Scholar
Lard, Karen
. The Art of Adapting Victorian Literature, 1848–1920. Farnham, Surrey: Ashgate 2015.Google Scholar
Lavers, Norman
. Pop Culture Into Art: The Novels of Manuel Puig. Columbia: University of Missouri Press 1988.Google Scholar
Léger, Fernand
. “A New Realism – The Object.” Little Review. (New York) (Winter 1926).Google Scholar
. “A New Realism – The Object.” In Introduction to the Art of the Movies: An Anthology of Ideas on the Nature of Movie Art Edited by Lewis Jacobs, New York: Noonday Press 1960 96–8.Google Scholar
. “A New Realism – The Object (Its Plastic and Cinematic Graphic Value),” Flicker Alley, Avant-Garde Essay Series, accessed June 4, 2018. https://​www​.flickeralley​.com​/a​-new​-realism​-the​-object​-its​-plastic​-and​-cinematic​-graphic​-value/
Léglise, Paul
. Une ouvre de pré-cinema: L’Eneide: essai d’analyse filmique du premier chant. Paris: Debresse 1958.Google Scholar
Lehane, Dennis
. Moonlight Mile. London: Hachette Digital 2010.Google Scholar
Le Pop Art: dictionnaire de poche. Paris: Fernan Hazan 1975.Google Scholar
Leroux, Gaston
. Le sept de trèfle ciné-roman em douze épisodes. Paris: Ink Book 2014 [1921].Google Scholar
The Letter. Directed by William Wyler. Performed by Bette Davis, Herbert Marshall, James Stepheson, and others. USA, Warner Bros 1940 95 min.Google Scholar
Levine, Suzanne Jill
. “From Little Painted Lips to Heartbreak Tango.” In The Art of Translation: Voices from the Field edited by Rosanna Warren, 30-46. Boston: Northeastern UP 1989.Google Scholar
. Manuel Puig and the Spider Woman. His Life and Fictions. New York: Farrar, Straus & Giroux 2000.Google Scholar
. The Subversive Scribe: Translating Latin American Fiction. Champaign & London: Galkey Archive Press 2009.Google Scholar
Lévi-Strauss, Claude
. The Savage Mind Translated by George Weidenfeld and Nicolson Ltd. Chicago: The University of Chicago Press 1966.Google Scholar
Lili Marlene Directed by Arthur Crabtree. Performed by Lisa Daniely, Hugh McDermott, Richard Murdoch, and others. U.K. Monarch Films/RKO 1950 85 min.Google Scholar
Lindsay, Nicholas Vachel
. The Art of the Moving Picture. New York: Macmillan 1915.Google Scholar
Lippard, Lucy
. Pop Art. New York: Thames and Hudson 1992.Google Scholar
The Little Foxes Directed by William Wyler Performed by Bette Davis, Herbert Marshall, Teresa Wright, and others. USA, RKO 1941 115 min.Google Scholar
Livingstone, Marco
ed. Pop Art: An International Perspective. London: The Royal Academy of Arts 1991.Google Scholar
Llosa, Mario Vargas
. Notes on the Death of Culture: Essays on Spectacle and Society Edited and Translated by John King. New York: Farrar, Straus & Giroux 2015.Google Scholar
. “Saved by Rita Hayworth.” Translated by Edith Grossman. The New York Times on the Web: Books. New York, August 13 2000 Accessed January 17, 2019. https://​www​.nytimes​.com​/2000​/08​/13​/books​/saved​-by​-rita​-hayworth​.html. Previously accessed (Dec. 27 2014) at https://​www​.nytimes​.com​/books​/00​/08​/13​/reviews​/000813​.13vargast​.html
Lodge, David
. Working with Structuralism: Essays and Reviews on Nineteenth- and Twentieth-Century Literature. London: Routledge and Kegan Paul 1981.Google Scholar
Logie, Ilse
. La omnipresencia de la mímesis en la obra de Manuel Puig: Análisis de cuatro novelas. Amsterdam: Rodopi 2001.Google Scholar
Lyotard, Jean-François
. O pós-moderno Translated by Ricardo Barbosa. Rio de Janeiro: José Olympio 1986.Google Scholar
. The Postmodern Explained. Minneapolis and London: University of Minnesota Press 1992.Google Scholar
MacDonald, Dwight
. “A Theory of Mass Culture.” Mass Culture: The Popular Arts in America Edited by Bernard Rosenberg, and David Manning White. London: Collier-Macmillan Ltd. 1964 59–73.Google Scholar
Maharaj, Sarat
. “Pop Art Pharmacies: Kitsch, Consumerist Objects and Signs.” In Pop Art: An International Perspective edited by Marco Livingstone, 20–23. London: The Royal Academy of Arts 1991.Google Scholar
Maldonado, Armando
. “Manuel Puig: The Aesthetics of Cinematic and Psychological Fiction.” Ph.D. diss., University of Arizona 1977.Google Scholar
Maltin, Leonard
ed. Tv Movies and Video Guide. New York: Penguin 1990.Google Scholar
Mamiya, Christin
. Pop Art and Consumer Culture: American Supermarket. Austin: University of Texas Press 1992.Google Scholar
The Manchurian Candidate Directed by John Frankenheimer Performed by Frank Sinatra, Laurence Harvey, and Janet Leigh. USA, United Artists 1962 126 min.Google Scholar
Manheim, Karl
. “A democratização da cultura”. In: Sociologia da Cultura Translated by Roberto Gambini. São Paulo: Perspectiva 1974.Google Scholar
. Essays on the Sociology of Culture. London: Routledge & Kegan Paul 1956.Google Scholar
Manning, White
ed Cultura de Massa. São Paulo: Cultrix 1973.Google Scholar
Manrique, Jaime
. “Manuel Puig: The Writer As Diva.” Christopher Street. 203 (July 1993): 14–27.Google Scholar
Marchand, Simón
. “El pop, arte de la imagen popular.” Del arte objectual al arte de concepto: las artes plásticas desde 60. Madri: Alberto Corazón 1974.Google Scholar
Marcus, Laura and Peter Nicholls
eds. The Cambridge History of Twentieth-Century English Literature. Cambridge: Cambridge University Press 2004.Google Scholar
Marcus, Milicent
. Filmaking by the Book. Baltimore: The Johns Hopkins University Press 1993.Google Scholar
Marcuse, Herbert
. Eros and Civilization: A Philosophical Inquiry into Freud. Boston: Beacon 1974.Google Scholar
. One-Dimensional Man. Boston: Beacon 1964.Google Scholar
Marie Antoinette Directed by W. S. Van Dyke. Performed by Norma Shearer, Tyrone Power, John Barrymore, and others. USA, MGM 1938 157 min.Google Scholar
Marinetti, F. T. et al.
The Futurist Cinema 1916.” Futurist Manifestos Translated by R. W. Flint Edited by Umbro Apollonio. New York: Viking 1973 207–219.Google Scholar
Martinetto, Vittoria
. “Del Beso al Kiss: un destino de re-presentaciones.” Artifara, (Università di Torino) 12, Revista electrónica de Lenguas y Literaturas Ibéricas y Latinoamericanas (2012): 97–136. Accessed May 26, 2018. http://​www​.ojs​.unito​.it​/index​.php​/artifara​/article​/view​/148​/135
Martyanova, Irina
. Kinovek russkogo teksta: Paradoks literaturnoy kinematografichnosti [The Cinema Age of the Russian Text: The Paradox of Cinematic Literature]. Saint-Petersburg: SAGA 2002.Google Scholar
Matthews, J. H.
Surrealism and Film. Ann Arbor: University of Michigan Press 1971.Google Scholar
Mayne, Judith
. Private Novels, Public Films. Athens, GA: University of Georgia Press 1988.Google Scholar
The Mayor of Casterbridge. Directed by Sidney Morgan. Performed by Fred Groves, Pauline Peters, and Warwick Ward. UK 1921, silent.Google Scholar
McCaffery, Larry
ed. Storming the Reality Studio: A Casebook of Cyberpunk and Postmodern Fiction. Durham: Duke UP 1991.Google Scholar
McFarlane, Brian
. Novel to Film: An Introduction to the Theory of Adaptation. Oxford: Clarendon Press 1996.Google Scholar
McHale, Brian
. “POSTcyberMODERNpunkISM.” Constructing Postmodernism. London and New York: Routledge 1992.Google Scholar
McKernan, Luke, and Olwen Terris
. Walking Shadows: Shakespeare in the National Film and Television Archive. London: BFI 1994.Google Scholar
McKernan, Luke
. “Pen and pictures no. 9 – The cinema novel”. The Bioscope: Formerly reporting on the world of early and silent cinema. March 5 2011 Accessed May 26, 2014. http://​thebioscope​.net​/2011​/03​/05​/pen​-and​-pictures​-no​-9​-%E2%80%93​-the​-cinema​-novel/
. “Pen and pictures no. 1 –Thomas Hardy.” The Bioscope: Formerly reporting on the world of early and silent cinema. April 29 2008 Accessed May 26, 2014. http://​thebioscope​.net​/?s​=silent+cinema+tackled+the+works+of+assorted+authors
McLuhan, Marshall
. Understanding Media: The Extensions of Man. Cambridge, MA: MIT Press 1995.Google Scholar
McLuhan, Marshall, and Quentin Fiore
. The Medium is the Massage: An Inventory of Effects. Produced by Jerome Agel. San Francisco: Hardwired 1996.Google Scholar
Medel-Bao, Jorge
. “La literatura queer de Manuel Puig como seducción socio-política.” Ph.D. diss., Université de Lyon 2016.Google Scholar
Mekas, Jonas
. “The Other Direction.” Film and/as literature Ed. John Harrington. Englewood Cliffs, N.J.: Prentice-Hall 1977 137–50; 190–95.Google Scholar
Melton, Quimby
. “Lesescenario Bibliography.” Google Docs, 30 March 2013, updated 12 March 2017. http://​goo​.gl​/1v9is
. “Production’s ‘dubious advantage’: Lesescenarios, closet drama, and the (screen)writer’s riposte,” SCRIPTjr.nl: Literature’s Last Frontiers, updated January 27, 2014, accessed January 14, 2019. http://​scriptjr​.nl​/articles​/productions​-dubious​-advantage​-lesescenarios​-closet​-drama​-and​-the​-screenwriters​-riposte#​.VSBEN2c5Cpp
Merriam Webster’s Dictionary. Online edition. http://​www​.merriam​-webster​.com​/dictionary/.
Merriam-Webster Online, s. v. “cinematic.” Accessed Oct. 6, 2014a. http://​www​.merriam​-webster​.com​/dictionary​/cinematic
Merriam-Webster, s.v. “Mise-en-scène.” Accessed May 21, 2018. https://​www​.merriam​-webster​.com​/dictionary​/mise​-en​-sc%C3%A8ne
Merquior, José Guilherme
. Formalismo e tradição moderna: o problema da arte na crise da cultura. Rio de Janeiro: Forense Universitaria 1974.Google Scholar
. O fantasma romântico e outros ensaios. Rio de Janeiro: Vozes 1980.Google Scholar
Metz, Christian
. Film Language: A Semiotics of Cinema. New York: Oxford UP 1974CrossrefGoogle Scholar
Mildred Pierce. Directed by Michael Curtiz. Performed by Joan Crawford, Jack Carson, Zachary Scott, Eve Arden, and others. USA, Warner Bros. 1945 111 min.Google Scholar
Militelo, Joseph F.
The Post-Modern Laokoon: The Influence of Symbolist Synaesthesia on the Development of Modern Aesthetics, Poetics, and Thought.” Diss. SUNY Buffalo 1994.Google Scholar
Mistral, Gabriela
. “The Poet’s Attitude Toward the Movies.” In The Movies on Trial edited by William J. Perlman. New York: The Macmillan Company 1936 Accessed Dec. 9, 2014. https://​archive​.org​/stream​/moviesontrialvie00perlrich​/moviesontrialvie00perlrich​_djvu​.txt
Mitchell, Phyllis
. “The Reel against the Real: Cinema in the Novels of Guillermo Cabrera Infante and Manuel Puig.” Latin American Literary Review. Vol. 6, no. 11 (Fall-Winter 1977), pp. 22–29.Google Scholar
Moles, Abraham
O kitsch: a arte da felicidade. [Psychologie du kitsch – L’art du bonheur]. 2 ed. Translated by Sérgio Miceli. São Paulo: Perspectiva 1975 (Coleção Debates, 68).Google Scholar
Monegal, Emir Rodríguez
. “La Nueva Novela Latinoamericana.” AIH. Actas III. Instituto Cervantes, Centro Virtual Cervantes 1968 Accessed Feb. 23, 2018. https://​cvc​.cervantes​.es​/literatura​/aih​/pdf​/03​/aih​_03​_1​_008​.pdf
. “Tradición y renovación.” In América Latina en su literatura, 11 ed. edited by César Fernández Moreno, 139–166. México: Siglo XXI Editores 1988.Google Scholar
Montgomery, Harper
. “Fernand Léger, La fin du monde, filmée par l’ange N.-D .” In Artists and Prints: Masterworks from The Museum of Modern Art edited by Deborah Wye. New York: The Museum of Modern Art 2004 p. 72. https://​www​.moma​.org​/collection​/works​/27232
Morrissette, Bruce
. Novel and Film: Essays in Two Genres. Chicago: Chicago University Press 1985.Google Scholar
Moses, Gavriel
. The Nickel Was for the Movies: Film in the Novel From Pirandello to Puig. Berkeley: University of California Press 1995.Google Scholar
Mudrovcic, María Eugenia
. “Breaking Away from the Readership Cult: The Reception History of Kiss of the Spider Woman .” In Approaches to Teaching Puig’s Kiss of the Spider Woman edited by Daniel Balderston and Francine Masiello. New York: Modern Language Association of America 2007 77–82.Google Scholar
Munsterberg, Hugo
. The Film: A Psychological Study. New York; London: D. Appleton and Company 1916 Accessed Dec. 9, 2014. http://​www​.gutenberg​.org​/files​/15383​/15383​-h​/15383​-h​.htm
Murray, Edward
. “ In Cold Blood: the Filmic Novel and the Problem of Adaptation.” Literature/Film Quarterly. Vol. 1, no. 2 (Spring 1973): 132–137. https://​www​.jstor​.org​/stable​/i40154698
Naremore, James
ed. Film Adaptation. New Brunswick, NJ: Rutgers University Press 2000.Google Scholar
Natoli, Joseph, and Linda Hutcheon
ed. A Postmodern Reader. Albany: State of New York University Press 1993.Google Scholar
The New Grove Dictionary Of Music and Musicians Edited by Stanley Sadie and John Tyrrell. 2. ed. New York: Oxford University Press 2004.Google Scholar
The New Oxford Companion to Literature in French, s. v. “Nouveau RomanEdited by Peter France. Oxford: Oxford University Press 2014.Google Scholar
Newman, Charles
. The Post-Modern Aura: The Act of Fiction in an Age of Inflation. Evanston: Northwestern University Press 1985.Google Scholar
Nietzsche, Friedrich
. The Gay Science Edited by Bernard Williams Translated by Josefine Nauckhoff. Cambridge: Cambridge University Press 2008http://​www​.holybooks​.com​/the​-gay​-science​-friedrich​-nietzsche/
. The Portable Nietzsche Translated by Walter Kaufmann. New York: The Viking Press 1954.Google Scholar
Nilsson, Leopoldo Torre
dir. Boquitas pintadas. Performed by Alfredo Alcon, Marta Gonzalez, and Luisina Brando 1974 Buenos Aires: Directores Associados S.A./ECE S.A., Emerald 2007 DVD.Google Scholar
Nuno-Avila, Anthony J.
El sujeto de la posmodernidad en la narrativa de Manuel Puig.” PhD diss., University of Arizona 2002.Google Scholar
Nuttal, Jeff
. Bomb Culture. London: Paladin 1972.Google Scholar
O’Connor, Frank
. The Mirror in the Roadway: A Study of the Modern Novel. New York: Knopf 1964.Google Scholar
Odin, Roger
. “Modèle grammatical, modèles linguistiques et étude du langage cinematographique.” Cahiers du 20e siècle: Cinema et littérature 9 (1978).Google Scholar
OED. 2 ed., s. v. “Strand,” Oxford: Oxford University Press 1993http://​www​.oed​.com/
Ommundsen, Wenche
. Metafictions? Reflexivity in Contemporary Texts. Melbourne University Press 1993.Google Scholar
One-Eyed Jacks. Directed by Marlon Brando. Performed by Marlon Brando, Karl Malden and Katy Jurado. USA, Paramount Pictures 1961 141 min.Google Scholar
Orr, John, and Colin Nicholson
. Cinema and Fiction: New Modes of Adapting, 1950–1990. Edinburgh University Press 1992.Google Scholar
Orwell, George
. 1984. New York: Signet 1950.Google Scholar
Owens, Milner B.
The Empowerment of Character Expression through the Use of Popular Culture in the Novels of Manuel Puig.” B.A. thesis, Athens, University of Georgia 2009.Google Scholar
Oxford Dictionary of English Etymology Edited by C. T. Onions. New York: Oxford University Press 1966.Google Scholar
Oxford Dictionary of Literary Terms, s. v. “Le nouveau roman.” New York: Oxford University Press 2008.Google Scholar
Oxford Dictionaries, s. v. “cinematic.” Accessed Oct. 6, 2014. http://​www​.oxforddictionaries​.com​/us​/definition​/american​_english​/cinematic
Packard, Dennis J.
The Film Novelist: Writing a Screenplay and Short Novel in 15 Weeks. New York: Continuum International 2011CrossrefGoogle Scholar
Paech, Joachim
. Literatur und Film. Stuttgart: J.B.Metzlersche Verlagsbuchhandlung 1988.Google Scholar
Pak, In Chan
. “A Written Film: Manuel Puig’s Kiss of the Spider Woman .” Studies in Modern Fiction. (The Korean Society of Modern English Fiction), Vol. 11, No. 1 (2004): 1–21. http://​www​.riss​.kr​/search​/detail​/DetailView​.do​?p​_mat​_type​=1a0202e37d52c72d​&control​_no​=64c67fe39cc80315ffe0bdc3ef48d419
Paula, Agrippino de
. PanAmérica. Rio de Janeiro: Tridente 1967.Google Scholar
. PanAmérica. 3 ed. São Paulo: Papagaio 2001.Google Scholar
Pauls, Alan
. Manuel Puig: La traición de Rita Hayworth. Buenos Aires: Libreria Hachette 1986.Google Scholar
Paz, Octavio
. Children of the Mire: Modern Poetry from Romanticism to the Avant-Garde Translated by Rachel Phillips. Cambridge: Harvard University Press 1974.Google Scholar
Paz-Saldán, Edmundo, and Debra A. Castillo
eds. Latin American Literature and Mass Media. Hispanic Issues, vol. 22. New York: Garland 2001.Google Scholar
Percy, Walker
. The Moviegoer. New York: Vintage Books 1961.Google Scholar
Perloff, Marjorie
ed. Postmodern Genres. Norman, OK: University of Oklahoma Press 1989.Google Scholar
Piglia, Ricardo
. “The Puig Effect.” In Approaches to Teaching Puig’s Kiss of the Spider Woman Edited by Daniel Balderston and Francine Masiello. New York: Modern Language Association of America 2007 18–27.Google Scholar
Pinocchio. Directed by Ben Sharpsten and others. Performed by Cliff Edwards, Dickie Jones, and others. USA, Walt Disney/RKO 1940 88 min.Google Scholar
A Place in the Sun Directed by George Stevens. Performed by Montgomery Clift, Elizabeth Taylor and Shelley Winters. USA, Paramount Pictures 1951 122 min.Google Scholar
Plato
. The Works of Plato Translated by George Burges. London: Heny G. Bohn 1850.Google Scholar
Porter, Edwin S.
dir. The Great Train Robbery. Performed by Alfred Abadie, Broncho Anderson, and Justus Barnes. USA, Edison Manufacturing Company 1903 12 min.Google Scholar
Prince, Gerald
. “Metanarrative Signs.” Metafiction Edited by Mark Currie. London and New York: Longman 1995.Google Scholar
Proust, Marcel
. A la recherche du temps perdu Edited by Pierre Clarac and André Ferré. Vol. 3. Paris: Gallimard 1954 3 vols. 689–1048.Google Scholar
Puchner, H. Martin
. “Textual Cinema and Cinematic Text: The Ekphrasis of Movement in Adam Thorpe and Samuel Beckett.” EESE: Erfurt Electronic Studies in English 1995–2011) (Niedersächsische Staats- und Universitätsbibliothek Göttingen) (January 1999) Last update January 15, 2012. Accessed January 14, 2019. http://​webdoc​.sub​.gwdg​.de​/edoc​/ia​/eese​/rahmen22​.html
Pubis Angelical. Directed by Raúl de la Torre. Performed by Alfredo Alcón, Graciela Borges, Pepe Sorriano, and others. Argentina 1982 DVD. GLD 2006 115 min.Google Scholar
Puig, Manuel
. A cara do vilão. Rio de Janeiro: Rocco 1985b.Google Scholar
. Boquitas Pintadas. Buenos Aires: Editorial Sudamericana 1970.Google Scholar
. Betrayed by Rita Hayworth Translated by Suzanne Jill Levine. New York: Dutton 1971.Google Scholar
. Blood of Requited Love Translated by Jan. L. Grayson. New York: Aventura/Vintage Books 1984.Google Scholar
. The Buenos Aires Affair. Barcelona: Seix Barral 1983.Google Scholar
. The Buenos Aires Affair: A Detective Novel Translated by Suzanne Jill Levine. New York: E. P. Dutton 1976.Google Scholar
. Cae la noche tropical. Barcelona: Seix Barral 1988a.Google Scholar
. El beso de la mujer araña. New York: Vintage Books 1994b.Google Scholar
. Eternal Curse on the Reader of These Pages. New York: Random House 1982a.Google Scholar
. Gardel, uma lembrança. Edizione critica di Silvia Gambarotto. Acessed Dec. 27, 2015. http://​www​.cisi​.unito​.it​/artifara​/rivista1​/testi​/Puig​.asp
. Heartbreak Tango: A Serial Translated by Suzanne Jill Levine. New York: Penguin 1996.Google Scholar
. Kiss of the Spider Woman and Two Other Plays. New York: W.W. Norton: 1994a.Google Scholar
. Kiss of the Spider Woman Translated by Thomas Colchie. New York: Vintage Books 1980.Google Scholar
. La cara del villano/Recuerdo de Tijuana. Barcelona: Seix Barral 1985a.Google Scholar
. La tajada. Gardel, uma lembrança. Rosario: Beatriz Viterbo 1998.Google Scholar
. La traición de Rita Hayworth. Buenos Aires: Jorge Alvarez S.A. 1968.Google Scholar
. Maldición eterna a quien lea estas páginas. Barcelona: Seix Barral 1982b.Google Scholar
. “Manuel Puig.” Interview with Kathleen Wheaton. Latin American Writers at Work: The Paris Review Edited by George Plimpton. Introduction by Derek Walcott. New York: The Modern Library 2003.Google Scholar
. Mystery of the Rose Bouquet Translated by Allan Baker. London: Faber and Faber 1988b.Google Scholar
. Pubis angelical. Barcelona: Seix Barral 1979.Google Scholar
. Pubis angelical: a novel Translated by Elena Brunet. New York: Vintage Books 1986.Google Scholar
. Sangre de amor correspondido. Barcelona: Seix Barral 1982c.Google Scholar
. Tropical Night Falling Translated by Suzanne Jill Levine. New York: Simon & Schuster 1991.Google Scholar
. Under a Mantle of Stars Translated by Ronald Christ. New York: Lumen Books 1985c.Google Scholar
Puig, Manuel and Kathleen Wheaton
. “Interview: Manuel Puig, The Art of Fiction No. 114.” The Paris Review. Winter II 1980 Accessed Jan. 23, 2016. http://​www​.theparisreview​.org​/interviews​/2368​/the​-art​-of​-fiction​-no​-114​-manuel​-puig
Puig, Manuel and Ronald Christ
. “A Last Interview with Manuel Puig.” World Literature Today. Vol. 65, No. 4, The Posthumous Career of Manuel Puig, Board of Regents of the University of Oklahoma, (Autumn 1991), pp. 571–578. https://​www​.jstor​.org​/stable​/40147594. doi:  Crossref
. “An Interview with Manuel Puig.” Partisan Review 44 (1977): 56Google Scholar
Puig, Manuel and Saúl Sosnowski
. “Manuel Puig: Entrevista.” Hispamérica. Vol. 1. n.3 (1973): 69–80.Google Scholar
Puig, Manuel and Suzanne Jill Levine
. “Author and Translator: A Discussion of Heartbreak Tango.” Translation 2 (1974): 32–41.Google Scholar
Quai des orfèvres. Directed by Henri-Georges Clouzot. Performed by Louis Jouvet, Suzy Delair, Bernard Blier, and others. France, Majestic Films 1947 105 min.Google Scholar
Rear Window. Directed by Alfred Hitchcock. Performed by Grace Kelly, James Stewart, and others. USA, Paramount Pictures 1954 112 min.Google Scholar
Reber, Dierdra
. “Visual Storytelling: Cinematic Ekphrasis in the Latin American Novel of Globalization.” Novel: A Forum on Fiction (Brown Univ., Providence, RI), vol. 43, no. 1 (2010): 65–71. CrossrefGoogle Scholar
Rebecca. Directed by Alfred Hitchcock. Performed by Laurence Olivier, Joan Fontaine, George Sanders, and others. USA, Selznick International Pictures/United Artists 1940 130 min.Google Scholar
Red Dust Directed by Victor Fleming. Performed by Clark Gable, Jean Harlow, Mary Astor, and others. USA, MGM 1932 83 min.Google Scholar
Reed College and Geraldine Ondrizek
. Reed Digital Collections – Artists’ Book 2009http://​cdm​.reed​.edu​/cdm4​/artbooks​/cendrars​_leger​.php
The Revolvy Website, s. v. “closet screenplay.” Accessed June 23, 2018. https://​www​.revolvy​.com​/main​/index​.php​?s​=Closet+screenplay
Richardson, Robert
. Literature and Film. Bloomington: Indiana UP 1969.Google Scholar
Richter, Jean Paul
. Blumen-, Frucht- und Dornenstücke oder Ehestand, Tod und Hochzeit des Armenadvokaten F. St. Siebenkäs im Reichsmarktflecken Kuhschnappel. Berlin: Carl Markdoff 1796.Google Scholar
. Flower, Fruit, and Thorn Pieces; or, the Married Life, Death, and Wedding of Firmian Stanislaus Siebenkäs, Parish Advocate in the Burgh of Kuhschnappel, A Genuine Thorn Piece Translated by Alexander Ewing. London: Bell 1807.Google Scholar
Riordan, Rick
. Percy Jackson and the Olympians: The Lightning Thief. New York: Miramax Books 2005.Google Scholar
Robbe-Grillet, Alain
. La Jalousie. Paris: Les éditions de minuit 1957.Google Scholar
. L’Année dernière à Marienbad. Paris: Les éditions de minuit 1961.Google Scholar
. Pour un Nouveau Roman. Paris: Les éditions de minuit 1963a.Google Scholar
. L’Immortele. Paris: Les éditions de minuit 1963b.Google Scholar
. Jealousy & In the Labyrinth. Two Novels Translated by Richard Howard. With introductions by Bruce Morrissetti, Roland Barthes and Anne Minor. New York: Grove Press 1989.Google Scholar
Romains, Jules
. Donogoo: Comédie en deux parties et vingt-trois tableaux. Paris: Gallimard 1935.Google Scholar
. Donogoo-Tonka or the Miracles of Science: A Cinematographic Tale Translated by Brian Evenson. New York: Columbia University Press 2009.Google Scholar
. Donogoo Tonka; ou, Les miracles de la science, conte cinématographique. Éditions de la nouvelle revue française. Paris: Gallimard 1920.Google Scholar
. Donogoo: un prologue, trois parties et un épilogue. Slides of the program and material of the play performed on Oct. 25 1930 at Pigalle Theatre. Accessed May 25, 2018. https://​www​.youtube​.com​/watch​?v​=ueQoiTPdtd8
Rose, Margaret A.
The Post-Modern And the Post-Industrial: a Critical Analysis. Cambridge University Press 1991.Google Scholar
Roszak, Theodore
. Flicker. Chicago: Chicago Review Press 1991.Google Scholar
Sanders, Julie
. Adaptation and Appropriation. New York: Routledge 2006.Google Scholar
San Pedro, Diego de
. Cárcel de Amor. Edición de Carmen Parrilla. Estudio preliminar de Alan Deyermon. No place: Editorial Crítica 1995http://​www​.rae​.es​/sites​/default​/files​/Carcel​_de​_amor​_Diego​_de​_San​_Pedro​.pdf
Santos, Jair Ferreira dos
. O que é o pós-moderno. São Paulo: Brasiliense 1986.Google Scholar
Sarraute, Nathalie
. L’Ère du soupçon : essais sur le roman. Paris: Gallimard 1987.Google Scholar
. Le Planétarium. Paris: Gallimard 1972.Google Scholar
. Tropismes. Paris: Les éditions de minuit 1957.Google Scholar
Schmidt, Johann N.
Narration in Film.” The Living Handbook of Narratology. Hamburg: Hamburg University Press 2013 Interdisciplinary Center for Narratology of the University of Hamburg. Last modified January 22, 2013. https://​wikis​.sub​.uni​-hamburg​.de​/lhn​/index​.php​/Narration​_in​_Film
Schwartz, Jorge
. Vanguarda e cosmopolitismo na década de 20. São Paulo: Perspectiva 1983.Google Scholar
Seed, David
. Cinematic Fictions: The Impact of the Cinema on the American Novel up to World War II. Liverpool: Liverpool University Press 2009.Google Scholar
Seldes, Gilbert
. “The Cinema Novel.” The Seven Lively Arts. New York: Harper 1924 pp. 383–392. Accessed January 14, 2019. http://​xroads​.virginia​.edu​/~HYPER​/SELDES​/toc​.html
Semenza, Greg M. Colón and Bob Hasenfratz
. The History of British Literature on Film, 1895–2015. New York and London: Bloomsbury 2015.Google Scholar
Serstevens, A. T.
Du ‘Transibérien’ à Moravagine’: Cendras, poète et romancier.” Les Nouvelles Littéraires 26 (Sep. 1926): 1.Google Scholar
Shakespeare, William
. The Complete Works of Shakespeare Ed. Hardin Craig. Chicago and New York: Scott, Foresman and Company [1951].Google Scholar
Shanghai Express Directed by Josef von Sternberg. Performed by Marlene Dietrich, Clive Brook, and others. USA, Paramount 1932 80 min.Google Scholar
The Shanghai Gesture. Directed by Josef von Sternberg. Performed by Gene Tierney, Walter Huston, and others. USA, United Artists 1941 99 min.Google Scholar
Shaw, Donald L.
The Post-Boom in Spanish American Fiction,” Studies in 20th Century Literature: Vol. 19, Iss. 1, Article 3 (1995): 11–27. CrossrefGoogle Scholar
Short Cuts: Two avant-garde theater plays with Ivens’ films.” Ivens Magazine. N. 16, Oct. 2010 Accessed Oct. 29, 2014. http://​www​.academia​.edu​/1493511​/International​_Avant​-Garde​_and​_the​_Chinese​_National​_Anthem
Sieburth, Richard
. “Blaise Cendrars in the sky.” TLS: The Times Literary Supplement. Oct. 15 2014 Accessed January 15, 2019. https://​www​.the​-tls​.co​.uk​/articles​/public​/blaise​-cendrars​-in​-the​-sky/. Formerly published at: http://​www​.thetls​.co​.uk​/tls​/public​/article1462845​.ece
Simon, Claude
. Le vent: Tentative de restitution d’un retable baroque. Paris: Les éditions de minuit 1957.Google Scholar
Sitney, P. Adams
. “The Lyrical Film.” In Visionary Film: The American Avant-Garde, 1943–1978. New York: Oxford University Press 1979.Google Scholar
Sloan, De Villo
. “Manuel Puig’s Kiss of the Spider Woman as Post-literature.” The International Fiction Review, 14, No. 1 (1987) 26pGoogle Scholar
Smith, Damon
. “What Makes a Novel Cinematic?The Hands of Bresson (blog), March 11 2009 Accessed Jan. 27, 2014. Previous location: http://​eyeonfilm​.wordpress​.com​/2009​/03​/11​/what​-makes​-a​-novel​-cinematic/. New location: https://​eyeonfilm​.wordpress​.com​/2009​/03​/11​/what​-makes​-a​-novel​-cinematic​/#more​-294. Accessed June 8, 2019.
Smollett, Tobias
. Ferdinand Count Fathom. Complete in Two Parts. New York: The Jenson Society 1907. [1753]The Project Gutenberg Ebook. Release Date: October 26, 2006 [EBook #6761]. Last Updated: February 27, 2018. http://​www​.gutenberg​.org​/files​/6761​/6761​-h​/6761​-h​.htm
Smyth, Edmund J.
Postmodernism and Contemporary Fiction. London: B.T. Batsford 1991.Google Scholar
Soares, Ricardo
. Cinevertigem. Rio de Janeiro: Record 2005.Google Scholar
Solha, W. J.
A verdadeira estória de Jesus. São Paulo: Ática 1979.Google Scholar
Sontag, Susan
. On Photography. New York: Farrar, Straus and Giroux 1977.Google Scholar
Sosnowski, Saúl
. “Manuel Puig: Entrevista.” Hispamérica. Vol. 1. n. 3 (1973): 69–80.Google Scholar
Speranza, Graciela
. Manuel Puig después del fin de la literatura. Buenos Aires: Norma 2000.Google Scholar
Spiegel, Alan
. Fiction and the Camera Eye:Visual consciousness in film and the modern novel. Charlottesville: University of Virginia Press 1976.Google Scholar
Splendor in the Grass. Directed by Elia Kazin. Performed by Natalie Wood, Warren Beatty, and Pat Hingle. USA, Warner Bros. 1961 124 min.Google Scholar
Stam, Robert
. Literature through Film: Realism, Magic, and the Art of Adaptation. Malden, MA: Blackwell 2005.Google Scholar
Stam, Robert, and Alessandra Raengo
. Literature and Film: A Guide to the Theory and Practice of Film Adaptation. Malden, MA: Blackwell 2008.Google Scholar
Staniszewski, Anna
. “Can a novel be too cinematic?” Accessed April 22nd, 2014. Oct. 1, 2014. http://​www​.annastan​.com​/2014​/04​/can​-a​-novel​-be​-too​-cinematic/ (site discontinued).
Stein, Gertrude
. The Making of Americans. Normal, IL: Dalkey Archive Press 1995.Google Scholar
. “Portraits and Repetitions.” Lectures in America. Boston: Beacon 1957 pp. 165–206. Accessed Sept. 28, 2014. http://​people​.zhdk​.ch​/shusha​.niederberger​/texte​/gertrude​-stein​/portraits​-and​-repetition​_1935​.pdf
Stein, Sol
. Stein On Writing: A Master Editor of Some of the Most Successful Writers of Our Century Shares His Craft Techniques and Strategies. New York: St. Martin’s 1995.Google Scholar
Stekert, Ellen J., and Luz M. Umpierre
. “Deviance and Power: Malleable Realities in Manuel Puig’s use of Folklore and Cinematic Sources in Kiss of the Spider Woman .” Cincinnati Romance Review, vol. 11 1992: 155–165.Google Scholar
Štrajn, Darko
. “The Principle of Montage and Literature: Fragmented subjectivity as the subject-matter in novel, film and in digital forms of narration.” Primerjalna književnost (Ljubljana Educational Research Institute) 37.2 (2014) https://​www​.academia​.edu​/11495140​/The​_Principle​_of​_Montage​_and​_Literature​_Fragmented​_subjectivity​_as​_the​_subject​-matter​_in​_novel​_film​_and​_in​_digital​_forms​_of​_narration
Sutter’s Gold. Directed by James Cruze. Performed by Edward Arnold and Binne Barnes. USA. Universal Pictures 1936 94 min.Google Scholar
Sweet, Mathew
. Inventing the Victorians. London: Faber and Faber 2001.Google Scholar
Sypher, Wylie
. Rococo to Cubism in Art and Literature. New York: Vintage 1960.Google Scholar
Tender Comrade Directed by Edward Dmytryk. Performed by Ginger Rogers, Robert Ryan, and others. USA, RKO 1943 B&W, 101 min.Google Scholar
Tess of the D’Urbervilles. Directed by J. Searle Dawley. Performed by Minnie Fiske, Raymond Bond, and David Torrence. USA, Famous Players Film Co./Paramount Pictures 1913 5 reels.Google Scholar
Tess of the D’Urbervilles Directed by Marshall Neilan. Performed by Blanche Sweet and Conrad Nagel. USA., Metro-Goldwyn-Mayer 1924 80 min.Google Scholar
Thakkar, Amit
. “‘Una Tercera Lectura’: The Cinematic Reader and the Cult of Virility in Manuel Puig’s El Beso De La Mujer Araña .” Journal of Iberian and Latin American Studies, vol. 20, no. 1 (1976): 7–29. Consulted Oct. 23, 2014. CrossrefGoogle Scholar
That Hamilton Woman. Directed by Alexander Korda. Performed by Vivien Leigh, Laurence Olivier, and others. USA, United Artists 1941 128 min.Google Scholar
This Man Must Die [ Que la bête meure ]. Directed by Claude Chabrol. Performed by Michel Duchaussoy, Caroline Cellier, and Jean Yanne. France and Italy, Allied Artists Pictures Corporation 1969 110 min.Google Scholar
Thompson, Kristin
. “Novel, Short Story, Drama: The Conditions for Influence.” In The Classical Hollywood Cinema: Film Style and Mode of Production to 1960 Edited by David Bordwell, Janet Staiger, and Kristin Thompson. New York: Columbia University Press 1985.Google Scholar
Thorpe, Adam
. Still. London: Minerva 1995.Google Scholar
. Ulverton. London: Vintage 1998.Google Scholar
Tibbets, John C. and James M. Welsh
. The Encyclopedia of Novels into Film. New York: Checkmark Books 2005.Google Scholar
Tomashevski, Boris
. “Thematics.” Russian Formalist Criticism Translated by Lee T. Lemon and Marion J. Reis. University of Nebraska Press 1965.Google Scholar
Torre, Javier
dir. Vereda Tropical. Performed by Fabio Aste, Silvia Buarque, Gigi Rua, and others. Argentina/Brasil, El Sol Films 2004 DVD. Instituto Nacional de Cine y Artes Visuales (INCAA) 2005 105 min.Google Scholar
Torre, Raúl de la
dir. Pubis Angelical. Performed by Alfredo Aicón, Graciela Borges and others 1982 Buenos Aires, Argentina: Arte10/GLD Distribuidora, International DVD Group 2006 DVD. Color, 115 min.Google Scholar
Un chien andalou. Directed by Luis Buñuel. Text Salvador Dali. Performed by Pierre Batchef, Simone Mareuil, Luis Buñuel, Salvador Dalí and Jaime Miravilles. France, Les Grands Films Classiques 1929 21 min.Google Scholar
Urban Dictionary, s. v. “cinematic.” Accessed Oct. 13, 2014e. http://​www​.urbandictionary​.com​/define​.php​?term​=cinematic
The Vanishing. [Spoorloos]. Directed by George Sluizer. Performed by Bernard-Pierre Donnadieu and Gene Bervoets. Netherlands and France, Golden Egg/MGS/Argos Films 1988 107 min.Google Scholar
Varandas, Adriana Garcia
. “O beijo da mulher-aranha: a cultura de massas e sua representação no cinema.” Master’s thesis, Universidade Federal de Santa Catarina 2016.Google Scholar
Vereda Tropical. Directed by Javier Torre. Performed by Fabio Aste, Silvia Buarque, Gigi Rua, and others. Argentina/Brasil, El Sol Films 2004 Instituto Nacional de Cine y Artes Visuales (INCAA) 2005 105 min. DVD.Google Scholar
Vertigo. Directed by Alfred Hitchcock. Performed by James Stewart, Kim Novak, Barbara Geddes, and others. USA, Paramount Pictures 1958 128 min.Google Scholar
Virgil
. The Aeneid Translated by John Dryden. Accessed 27 April 2015. http://​classics​.mit​.edu​/Virgil​/aeneid​.html
Virmaux, Alain
and Odette. Le Ciné-roman: un genre nouveau? Paris: Edilig, n.d. [1984].Google Scholar
Walker, Alexander
. Stardom. The Hollywood Phenomenon. Middlesex: Penguin 1974.Google Scholar
Walker, John A.
Art since Pop. London: Thames and Hudson 1974.Google Scholar
Wall-Romana, Christophe
. Cinepoetry: Imaginary Cinemas in French Poetry. New York: Fordham University Press 2012CrossrefGoogle Scholar
Walsh, Frank
. Sin and Censorship: The Catholic Church and The Motion Picture Industry. New Haven: Yale University Press 1996.Google Scholar
Waugh, Patricia
. Metafiction: The Theory and Practice of Self-Conscious Fiction. London and New York: Methuen 1984.Google Scholar
Wells, H. G.
The King Who Was a King – The Book of a Film. London: Ernest Benn 1929http://​gutenberg​.ca​/ebooks​/wellshg​-kingwhowasaking​/wellshg​-kingwhowasaking​-00​-h​.html
West, Nathaniel
. The Day of the Locust. Los Angeles: Indo European 2011.Google Scholar
Whitman, Walt
. “Song of Myself.” Leaves of Grass. New York: Barnes & Noble Books 1993.Google Scholar
Wikipedia, s. v. “Closet Screenplay”. Accessed August 6, 2014. http://​en​.wikipedia​.org​/wiki​/Closet​_screenplay
Wikipedia. s. v. “Tess of the d’Urbervilles.” Accessed Nov. 2, 2014. http://​en​.wikipedia​.org​/wiki​/Tess​_of​_the​_d’Urbervilles
Williams, Linda
. Figures of Desire: A Theory and Analysis of Surrealist Film. Berkeley and Los Angeles: University of California Press 1981.Google Scholar
Wilson, Simon
. Pop. London: Thames & Hudson 1974.Google Scholar
Wimmer, Natasha
. “The Cursi Affair: On Manuel Puig.” The Nation. April 21 2011https://​www​.thenation​.com​/article​/cursi​-affair​-manuel​-puig/
The Woman of the Year. Directed by George Stevens. Performed by Katharine Hepburn, Spencer Tracy, and others. USA, MGM 1942 114 min.Google Scholar
The Women. Directed by George Cukor. Performed by Norma Shearer, Joan Crawford, Rosalind Russell, Paulette Goddard, and others. U.S.A. 1939 133 min.Google Scholar
Woolf, Virginia
. Essays of Virginia Woolf – 1912–1918. V. 2 Edited by Andrew McNeille. San Diego: Harcourt Trade Publishers 1988.Google Scholar
The World Book Encyclopedia. A-Vol. 1. Chicago: World Book Inc. 1994.Google Scholar
Worley, Joan Y.
Film into Fiction: Thomas Pynchon and Manuel Puig.” Ph.D. Diss., Ohio University 1983.Google Scholar
Wright, Terry R.
ed. Thomas Hardy on Screen. Cambridge: Cambridge University Press 2005.Google Scholar
Young, Bryan-Mitchell
. “Can you define cinematic???Popular Culture Gaming. July 2nd 2005 Accessed Oct. 6, 2014. http://​popularculturegaming​.com​/?p​=134
Yudice, George
. “ El beso de la mujer araña y Pubis angelical: Entre el placer y el saber.” In Literature and Popular Culture in the Hispanic World: A Symposium Edited by Rose, S. Minc. Gaithersburg, MD: Montclair State College and Hispamérica 1981.Google Scholar
Ziegfeld Girl Directed by Robert Z. Leonard. Performed by Judy Garland, Hedy Lamarr, Lana Turner, James Stewart and others. USA, MGM 1941 132 min.Google Scholar
Subjects

Literature & Literary Studies

Theoretical literature & literary studies
BIC Subject: DSBH – Literary studies: from c 1900 -
BISAC Subject: LIT000000 – LITERARY CRITICISM / General
U.S. Library of Congress Control Number:  2019036904 | Marc record