In:The Cinematic Novel and Postmodern Pop Fiction: The case of Manuel Puig
Décio Torres Cruz
[FILLM Studies in Languages and Literatures 13] 2019
► pp. ix–x
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Published online: 5 December 2019
https://doi.org/10.1075/fillm.13.toc
https://doi.org/10.1075/fillm.13.toc
Table of contents
Series editor’s prefaceXI
AcknowledgmentsXIII
Introduction1
Chapter 1The cinema(tic) novel: Definitions and brief historical overview23
Closet screenplay, Lesedrama or
Lesenscenario and novelization32
Pre-cinema or proto-film literature35
The influence of cinema on the modern novel: A brief historical
overview37
The French tradition of film scenarios and
ciné-roman42
The nouveau roman52
British and American cinematic novels: A critical perspective58
Brief review of critical and analytical material on Puig’s
cinematic novels72
Chapter 2Pop Art and Puig’s polyphonic pop narrative79
Pop Art and pop literature79
Culture and the film industry: Kitsch and the democratization of art and
culture88
Puig’s pop techniques and irreverence99
Puig’s carnivalized pop style108
Chapter 3From reel to real: The fusion of reality and fiction in Puig’s cinematic discourse in
Betrayed by Rita Hayworth115
Film in an author’s life118
The prelude to a kiss: Film in characters’ lives in Betrayed by
Rita Hayworth129
Chapter 4Dancing a Heartbreak Tango with Hollywood stars and their
Boquitas Pintadas147
Chapter 5The Buenos Aires Affair163
Chapter 6The Spider Woman’s polyphonic web of desire179
Chapter 7Puig’s characters and their mythical identity in Pubis
angelical217
The plot, themes and labyrinthine cinematic structure of the
novel217
Mythical identities243
Conclusion257
Works cited275
AppendixPuig’s timeline299
