De La Pantalla Al Papel: El Cine Mudo Y La Narrativa Vanguardista Espaã±Ola
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City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 2000 De la pantalla al papel: el cine mudo y la narrativa vanguardista española Maria Montoya The Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/3900 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] INFORMATION TO USERS This manuscript has been reproduced from the microfilm mastar. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertatíon copies are in typewriter face, whUe others may be from any type of computar printer. The quality of this reproduction is dependent upon the quality of the copy subm itted. 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Bell & Howell Information and Leaming 300 North Zeeb Road, Ann Arbor, MI 48106-1346 USA 800-521-0600 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. DE LA PANTALLA AL PAPEL: EL CINE MUDO Y LA NARRATIVA VANGUARDISTA ESPAÑOLA by MARIA MONTOYA A dissertation submitted to the Gradúate Faculty in Hispanic and Luso-Brazilian Literatures in partial fulfillment of the requírements for the degree of Doctor of Philosophy, The City University of New York 2000 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. UMI Number 9959210 Copyright 2000 by Montoya, María All rights reserved. UMI* UMI Microform9959210 Copyright 2000 by Bell & Howell Information and Leaming Company. All rights reserved. This microform edition is protected against unauthorízed copying underTitle 17, United States Code. Bell & Howell Information and Leaming Company 300 North Zeeb Road P.O. Box 1346 Ann Arbor, MI 48106-1346 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. © 2000 MARIA MONTOYA All rights reserved Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. This manuscript has been read and accepted for the Gradúate Faculty in Hispanic and Luso-Brazilian Literatures in satisfaction of the dissertation requirement for the degree of Doctor in Philosophy. [Signature] Date Chair^hair OT-Éxamining C<Committee [Signature] H e H, /" ti Date Executive Officer [Signature] Juan González-Millán [Signature] Thomas Mermall Supervisory Committee THE CITY UNIVERSITY OF NEW YORK Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Abstract DE LA PANTALLA AL PAPEL: EL CINE MUDO Y LA NARRATIVA VANGUARDISTA ESPAÑOLA by María Montoya Adviser: Professor Carolyn Ríchmond The purpose of this ¡nterdisciplinary study is to document and explain the influence of silent film on the vanguard works of three outstanding Spanish prose writers -Francisco Ayala, Antonio Espina, and Benjamín Jamés- during the 1920s, as well as on essays of theirs that appeared in Revista de Occidente and La Gaceta Literaria. Three aspects of film of particular ¡mportance to the analysis of these writers’ works are: movies as a social phenomenon, Hollywood film stars, and the influence of film on their narrative techniques. An examination of the main cultural and film magazines of that decade, as well as of the Golden Age of American and European silent film, places this study in a socio/cultural context. Some of the debates that the Seventh Art raised in the Spanish literary and film circles were cinema v. theatre, silent film v. talkies, and the relationship between the new médium and its audience. Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Agradecimientos Agradezco a Carolyn Richmond su valiosa ayuda para la investigación de este trabajo. También quiero agradecer a Robert y a toda mí familia su apoyo constante en mis estudios de doctorado. Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. ÍN D IC E Propósito............................................................................................................... 1 I. Introducción a la narrativa vanguardista española a. La novela nueva ..................................................................................................... 2 b. Recientes aproximaciones críticas......................................................................... 8 c. Reediciones................................................................................... 15 d. El cine mudo y la narrativa españolade vanguardia .............................................. 17 II. La edad de oro del arte mudo. a. Cine e historiografía ............................................................................................... 22 b. El auge de Hollywood ............................................................................................ 23 c. La escuela de cine soviético.................................................................................. 42 d. El movimiento expresionista aiemán..................................................................... 53 e. El cine francés de los años veinte......................................................................... 62 III. La recepción del cine en los años veinte a. El cinematógrafo llega a España ........................................................................... 73 b. La vanguardia literaria frente al cine: la recepción intelectual ................................77 c. Los escritores y el Cineclub................................................................................... 93 d. La crítica cinematográfica en La Gaceta Literaria: Luis Buñuel, Juan Piqueras y Luis Gómez Mesa............................................................................................... 98 e. Las revistas cinematográficas: la recepción popular............................................ 106 IV. El arte mudo en la narrativa vanguardista de Francisco Ayala, Antonio Espina y Benjamín Jarnés a. La admiración por el cine ...................................................................................... 118 b. La novela cinegráfica de Antonio Espina ...............................................................120 c. El cine en Jarnés....................................................................................................127 d. Técnicas cinematográficas en El boxeador y un ángel y Cazador en el alba de Francisco Ayala ...................................................................................... 147 e. Cine y literatura en Francisco Ayala, Antonio Espina y Benjamín Jarnés .................................................................................................................... 169 Conclusión ................................................................................................................ 177 G losario..................................................................................................................... 191 Obras consultadas ....................................................................................................194 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. 1 De la pantalla al papel: el cine mudo y la narrativa vanguardista española Propósito La confrontación entre cine y novela ha partido casi siempre de la relación entre el texto literario y su adaptación cinematográfica. Recientemente, sin embargo, un número significativo de estudios ha abordado la relación inversa; es decir, cómo el cine se incorpora a la obra de ficción y se manifiesta en la técnica narrativa del escritor. Esta segunda perspectiva cobra especial interés en las narraciones vanguardistas de tres destacados prosistas españoles de la década de 1920: Francisco Ayala, Antonio Espina y Benjamín Jamés. El presente trabajo ofrece, junto a una aproximación a la influencia del cine en la obra ensayística y de ficción de estos tres escritores, un acercamiento a la la edad de oro, en Europa y en EEUU, de la cinematografía muda, así como un examen de la recepción que el Séptimo Arte tuvo en dos influyentes publicaciones culturales de la vanguardia literaria española; La Gaceta Literaria y Revista de Occidente \ 1 Entre los numerosos trabajos que han cotejado el texto literario y su adaptación cinematográfica, figuran From Book to Film (1949) de Lester