The subversion of literary adaptation in Tristana and that dark object of desire by Luis Buñuel
Journal Title: UcoArte. Revista de Teoría e Historia del Arte - Year 2012, Vol 1, Issue 6
Abstract
Tristana and That Obscure Object of Desire are the last literary adaptations by Luis Buñuel. Even if the director takes the liberty of making various changes –cuts, synthesis, additions– in the adaptation process, to create Buñuelian works, the literary texts by Benito Pérez Galdós and Pierre Louÿs seem to be still presents in the films as a claimed reference. Firstly, the cinematic lines look like the literary dialogues and sound strange on the screen. In the same way, if we recognize the literary heroines in the cinematic characters as an original reference, the director creates this recognition only to draw us to an universe which becomes disturbing and questions our comprehension and believes, thanks to skilful meaning modifications. These texts resist the adaptation process and remain in the films as quotations, as another texts, in a unmodified way. Therefore Tristana and That Obscure Object of Desire pose the question of the novel’s function in the filmic work’s creation and in its subversion of the cinematic discourse.
Authors and Affiliations
Arnaud Duprat
Keywords
Related Articles
- EP ID EP704498
- DOI https://doi.org/10.21071/ucoarte.v1i0.9651
- Views 174
- Downloads 1
The Fortunato Depero's advertising pavillions
The Fortunato Depero advertising pavilions were a synthesis of two research lines on Italian futurism. The first, referring to architecture, was based on the heritage of the “Manifesto dell'Architettura Futurista” (1914)...
Attributed and unpublished works by Juan Bautista Vázquez El Viejo and his workshop in the Kingdom of Seville
In this article several new works to be found in the old diocese of Seville, they are attributed to the sculptor Juan Bautista Vázquez “el Viejo” (for example, the images of Saint Sebastian which is located in the Church...
The Cordoba's Museum of Fines Arts and it's opening to contemporary times since 1904
At a time when art galleries in Spain were adapting to new times, Enrique Romero de Torres was a turning point with regard to the modernisation of the Museo de Bellas Artes of Córdoba .In Córdoba, such renovation include...
Preceding engravings of the ecstasy of Bernini's Blessed Ludovica Albertoni in the work of Guillaume Valet
The study presents, within the artistic relations between Italy and France during the Roman High Baroque and the context of the diffusion of the Teresian Carmel design, which the most important maestros of the day were w...
An Academic facing the Women's art: José Francés and his artistic yearbook (1915-1926)
The art critic and member of the Royal Academy of Fine Arts of San Fernando, José Frances, also known as “Silvio Lago”, wrote for 11 consecutive years The Artistic Year, an annual summary of the Spanish artistic events b...