Index
A
Abel Gance
17, 47, 50
;
see also J’accuse
accumulation 100
see also Pop Art
Adam Thorpe
17, 37, 66, 292
adaptation
3, 5–6, 13–15, 25, 37, 42, 48, 59–60, 62, 69, 73, 84, 90–91, 121, 123, 135, 140, 168, 174, 214, 219, 260, 270, 290, 294–295, 308
Adorno
96, 248–249, 272
;
see also commodified society; culture industry; Horkheimer; industrial society
advertisement
156, 248
;
see also billboard; commercial
aerial shot
36, 214
;
see also camera; camera angles; camera shots; ciné-roman ; close-up; cut; cutaway; cutback; dissolve; fade-in; fade-out; freeze frame; iris in/out; mise-en-scène ; montage; nouveau roman ; objective narration; pan shot; soundtrack; tracking shot; zoom shot; zoom-in; zoom-out
Agrippino de Paula
79, 257
;
see also Panamérica
Agustín Lara
230–231
;
see also bolero
Alfred Hitchcock
55, 293, 296, 301
Alfredo Le Pera 147
see also tango
alienation
18, 93, 97–98, 106–107, 127, 178, 189, 215–216, 236, 244, 248, 266, 272
Allan D’Arcangelo
97, 154
;
see also road signs
Allan Robbe-Grillet
19, 152
;
see also ciné-roman; nouveau roman ; objective narration; Pour un Nouveau Roman
American Supermarket, The
see Pop Art
Ana’s diary
see Pubis angelical
anti-feminist discourse 269
see also feminist, the/a; feminist discourse; feminist friend; feminist interpretation; feminist issues; feminist theory
appropriation
1–2, 9, 16, 18–19, 27, 87–88, 103–104, 112–113, 147, 149, 219, 270–272, 294
archaic
109, 112
;
see also Bakhtin; carnivalization; carnivalized literature; polyphonic chain; polyphonic discourse; polyphonic pop narrative; poliphony
Argentina
9–11, 15, 19–20, 73, 79, 81–82, 89, 97–99, 101, 107, 116–117, 119–122, 127, 133, 138, 154, 159, 169, 171, 175, 180–183, 191, 212, 217, 219–220, 222, 227, 232, 235–237, 239–241, 243, 252, 257, 260–261, 263–264, 266, 292, 296, 299–311
aura
1, 21, 50, 88, 91–94, 98, 132, 157–158, 160, 183–184, 187, 215, 224, 232, 242, 244–245, 252, 272, 290
;
see also Benjamin
B
Bakhtin
2, 18, 22, 108, 109, 110, 112
Bakhtinian carnivalized discourse 17
Bakhtinian “carnivalization” of discourse 125
see also archaic; carnival; carnivalization; carnivalized literature; dialogic and Menippean aspect; polyphonic chain; polyphonic discourse; polyphonic pop narrative; polyphonic style; polyphonic web of desire; polyphony
Beatriz
see Pubis angelical
Benjamin
1, 5, 22, 87, 93, 160, 272, 277
;
see also aura
Berto
see Betrayed by Rita Hayworth
Betrayed by Rita Hayworth
vii, 16, 18–19, 72, 100, 115, 117, 129, 131–139, 141–145, 181–182, 209–210, 292, 300
Mita
130–133, 141–143, 147, 263
Toto (José Casals)
19, 74, 82, 96, 106, 119–120, 122–124, 130–131, 133–136, 138–141, 147, 156, 182, 209–210, 263
;
see also La traición de Rita Hayworth
Bette Davis
73, 168, 177, 303
billboard
154, 306
;
see also advertisement; commercial
Blaise Cendrars
43, 47–49, 79, 294
;
see also La fin du monde, filmée par l’ange N.-D .
Blood of Requited Love
117, 292
Blood and Sand
140–141, 301
Blue Dahlia, The
167, 174–175, 302
bolero
16, 202–203, 206, 230, 258
;
see also Agustín Lara; Mario Clavel; Mi Carta ; tango
Boom
10–11, 116–117, 261–262, 294
;
see also Post-Boom
Boquitas Pintadas
vii, 15–16, 19, 95, 97–98, 101, 105, 117–118, 145, 147–148, 151–158, 160–161, 163, 264, 290, 292, 307–308
;
see also Heartbreak Tango
Borges
107, 112, 126, 278, 304
Brazil
10, 13, 15, 43, 79, 81–82, 88, 105, 121–122, 181, 237, 306, 309–311
bricolage
15, 103–104, 270
;
see also Claude Lévi-Strauss
Bride of Frankenstein, The
71, 300
Buenos Aires Affair, The
16, 19, 72–75, 102–104, 117–118, 163–164, 177, 182, 195, 246, 261, 265–268, 292, 307
Gladys (Gladys Hebe D’Onofrio)
103, 163–166, 169, 171, 173–177, 265–266, 268
Leo (Leopoldo Druscovich)
163–166, 171–172, 176–177, 265, 268
María Esther
164, 171, 177
C
Cae la noche tropical
118, 121, 292, 311
camera
3, 19–21, 29–31, 36, 41, 52, 54–57, 60, 63, 65–66, 68, 72, 81, 144–145, 149–150, 152, 155–156, 162–165, 177, 187, 203, 212–215, 225, 228, 230, 233, 270, 295
eye
29, 155–156, 162, 270, 295
;
see also aerial shot; ciné-roman ; close-up; cut; cutaway; cutback; dissolve; fade-in; fade-out; freeze frame; iris in/out; mise-en-scène ; montage; nouveau roman ; objective narration; pan shot; soundtrack; tracking shot; zoom shot; zoom-in; zoom-out
Camille
147, 166–167, 174–175, 300
Cárcel de Amor
258, 294
;
see also epistolary novel
Carlos Gardel 147
see also Rubias de New York; fox-trot; tango
carnival
109–110, 112, 205–206
linguistic 112
see also Bakhtin; carnivalistic folklore; carnivalization; carnivalized discourse; dialogic and Menippean aspect; polyphonic chain; polyphonic discourse; polyphonic pop narrative; polyphonic style; polyphonic web of desire; polyphony
carnivalistic folklore 109
see also Bakhtin; carnival; carnivalization; carnivalized discourse; dialogic and Menippean aspect
carnivalization
1–2, 88, 108, 110, 117, 125
in Hispanic American novel 117
of language 110
see also Bakhtin; ; carnival; carnivalistic folklore; carnivalization; carnivalized discourse; dialogic and Menippean aspect; polyphonic chain; polyphonic discourse; polyphonic pop narrative; polyphonic style; polyphonic web of desire; polyphony
carnivalized discourse
17, 108, 110, 272
pop style
vii, 18, 107–108
style
99, 107–108, 258
;
see also archaic; Bakhtin; Bakhtinian “carnivalization” of discourse; carnival; carnivalization; dialogic and Menippean aspect; polyphonic chain; polyphonic discourse; polyphonic pop narrative; polyphonic style; polyphonic web of desire; polyphony
carnivalized literature
see carnivalized discourse
Cat People
73–74, 182–183, 185–186, 194, 301, 308
censorship
106, 121, 170–171, 174, 181, 200, 202, 213, 261, 296, 306
;
see also Motion Picture Production Code; McCarthy era; military government; pre-Code
Cesare Zavattini 120
see also Cinecittà
chaos
18, 88, 96–97, 99, 104–106, 112, 271
Charles Demuth 86
see also found object; Francis Picabia; Man Ray; proto-pop
chauvinism
222, 242
;
see also macho
Choli
see Betrayed by Rita Hayworth
Christo
86, 156
;
see also New Realists; Pop Art
cinema
vii, 2–6, 9–10, 16–17, 19, 23–30, 32–44, 46–47, 49–52, 55–56, 58–64, 66–76, 81–82, 89, 115–116, 119, 122, 124, 133, 138, 141, 204, 211–212, 223, 227, 233, 235, 238–239, 242, 250, 253, 257, 262–263, 267, 269, 272–274, 290–292, 294, 296, 300, 302–303, 305, 311
cinematic, the 13
characteristics
7–8, 29, 63, 72, 75, 77
discourse
vii, 18, 20, 27, 115, 257, 263
fiction
37, 58–59, 77, 262
literature
29, 273–274, 277
narrative
41, 63, 231, 269
novel
vii, 1, 3–4, 6–8, 16–17, 22–32, 34, 37–40, 47–48, 58, 60, 66–67, 69–72, 78, 127, 257–259, 270, 274, 285
pop discourse
99, 117, 217, 271
reference
19, 129, 131, 196
technique
15, 20, 26–27, 35–36, 40, 58, 61, 67, 72–73, 78–79, 81, 126, 129, 145, 152, 155–156, 212, 219, 259, 269
term/word
27–29, 31, 38, 42, 63, 75, 228
visual descriptions
172, 266
cinema novel
16, 23, 32, 42–44, 46, 52, 61, 64, 66, 294
;
see also ciné-roman; nouveau roman; Pour un Nouveau Roman
ciné-roman
vii, 17, 31, 42, 58, 66, 296
;
see also cinema novel; nouveau roman; Pour un Nouveau Roman
Citizen Kane
19, 149–150, 301
;
see also Orson Welles
Claes Oldenburg
80, 85–86, 95, 99–100, 111
;
see also macroscopic dimension; macroscopic view; gigantism; Roy Lichtenstein
Clark Gable
140, 148, 167, 293
class Z movie 122
see also film noir
Claude Lévi-Strauss 103
see also bricolage
cliché
82, 154
;
see also kitsch; melodrama
closet drama
32–33, 67
;
see also closet screenplay; Lesenscenario; Lesedrama
closet screenplay
32, 67, 293, 297
;
see also closet drama; Lesenscenario; Lesedrama
close-up
31, 36, 50, 56, 63, 99–100, 102, 145, 149–150, 164, 177, 207, 211–212, 214, 234
;
see also aerial shot; camera; camera angles; camera shots; ciné-roman ; cut; cutaway; cutback; dissolve; fade-in; fade-out; freeze frame; iris in/out; mise-en-scène ; montage; nouveau roman ; objective narration; pan shot; soundtrack; tracking shot; zoom shot; zoom-in; zoom-out
Clouzot
120, 293, 303–304
collage
1–2, 15–17, 82–84, 87, 99–101, 103–104, 110, 150, 153, 155–156, 258, 263–264
;
see also décollage; Pop Art
commercial
13, 43, 82, 86–87, 142, 154–155, 166, 175, 248
;
see also advertisement; billboard
commodified society 18
see also Adorno; culture industry; Horkheimer; industrial society
condensation
21, 106, 194, 216
;
see also desire; dream-work; displacement; Freud; Lacan; latent content; manifest content; unconscious; psychoanalysis
Condor Operation 219
see also military dictatorship; politics
contemporary novel 258
poshlost
265
see also postmodern novel
Corbatta
162–164, 166, 279
culture industry
18, 88, 96, 248–249, 272–273
;
see also Adorno; commodified society; Horkheimer; industrial society
cut
17, 20, 37, 40, 57, 69, 83, 99–100, 125, 135, 153, 156–157, 227, 229, 236
;
see also aerial shot; camera; camera angles; camera shots; ciné-roman ; close-up; cutaway; cutback; dissolve; fade-in; fade-out; freeze frame; iris in/out; mise-en-scène ; montage; nouveau roman ; objective narration; pan shot; soundtrack; tracking shot; zoom shot; zoom-in; zoom-out
cutaway 40
see also aerial shot; camera; camera angles; camera shots; ciné-roman ; close-up; cut; cutback; dissolve; fade-in; fade-out; freeze frame; iris in/out; mise-en-scène ; montage; nouveau roman ; objective narration; pan shot; soundtrack; tracking shot; zoom shot; zoom-in; zoom-out
cutback 40
see also aerial shot; camera; camera angles; camera shots; ciné-roman ; close-up; cut; cutaway; dissolve; fade-in; fade-out; freeze frame; iris in/out; mise-en-scène ; montage; nouveau roman ; objective narration; pan shot; soundtrack; tracking shot; zoom shot; zoom-in; zoom-out
D
Daniel Balderston
7, 11, 14, 77, 129, 193, 260, 262, 267, 291
Daniel Spoerri
86, 103–104
Damon Smith
17, 24, 70–71
David Cook
89–90, 92, 159, 170–171, 279
David Bordwell
35–36, 296
Debord
12, 18, 115, 280
;
see also society of the spectacle
décollage 87
see also collage
decenterment
243, 271
;
see also deconstruct; deconstruction; Derrida
deconstruct
18, 20, 110, 112–113, 118, 191, 196, 201
;
see also decenterment; deconstruction; Derrida
deconstruction
19, 53, 95, 189
;
see also decenterment; deconstruct; Derrida
Derrida
95, 280
;
see also decenterment; deconstruct; deconstruction; Derrida
desire
20–21, 32, 34, 106, 111, 116, 129–130, 134, 136, 145, 157–158, 177, 179, 186, 195, 200, 205–206, 211, 216, 218, 234, 238, 241, 245, 263, 268, 297, 303
;
see also condensation; displacement; dream; dream-work; Freud; Lacan; latent content; manifest content; psychoanalysis; unconscious
detective novel
19, 71, 102–103, 163–166, 171, 173–178, 232, 246, 265–266, 292, 304
dialogic and Menippean aspect 112
technique
267, 147
;
see also archaic; Bakhtin; Bakhtinian carnivalized discourse; Bakhtinian “carnivalization” of discourse; carnival; carnivalization; carnivalized literature; polyphonic chain; polyphonic discourse; polyphonic pop narrative; polyphonic style; polyphonic web of desire; polyphony
dissolve
20, 141, 156
;
see also aerial shot; camera; camera angles; camera shots; close-up; cut; fade in; fade out; fondu ; freeze frame; iris in/out; mise-en-scène ; montage; soundtrack; zoom shot; zoom-in; zoom-out
displacement
21, 106, 194, 216
;
see also condensation; desire; dream; dream-work; displacement; Freud; Lacan; latent content; manifest content; psychoanalysis; unconscious
diva
123, 170–173, 182, 196, 210, 252, 309
Doña Leonor (Mrs. Etchepare)
see Heartbreak Tango
Donogoo-Tonka or the Miracles of Science: a cinematographic tale
17, 23, 42–46, 66, 293
;
see also Jules Romains
dream
7, 18, 21, 34–35, 57, 81, 89–90, 98, 105–106, 112, 116, 141, 155, 158, 161–162, 177, 183, 189, 194–195, 199, 201–202, 211, 214–216, 218–221, 223, 225, 229, 234, 238, 240–244, 253, 264, 273
;
see also condensation; desire; dream-work; displacement; Freud; Lacan; latent content; manifest content; psychoanalysis; unconscious
dream-work
21, 106, 194–195, 202, 258–259
;
see also condensation; desire; displacement; dream; Freud; Lacan; latent content, manifest content; psychoanalysis; unconscious
E
Eduardo Paolozzi
82–83, 106, 156
ekphrasis
37, 68, 76–77, 292–293
El canto del cisne
169, 302
El beso de la mujer araña
10, 20, 72–73, 76, 92, 100–101, 117–118, 180, 183–184, 195, 267, 292, 295, 297, 308–310
;
see also Kiss of the Spider Woman
Elizabeth Taylor
71, 257, 291, 305
Enchanted Cottage, The
73, 184, 199, 215
entertainment industry
18, 89, 96–97, 249, 253, 264
epigraph
75, 148, 167, 169, 246
epistolary novel 258
see also Cárcel de Amor
Escape, The
16, 19–21, 45, 72, 97–98, 106, 122, 129, 131, 139, 141, 158, 176, 179–180, 182, 189–190, 192, 216, 224–225, 232, 234, 241–243, 245, 253, 257, 259
estrangement
97–98, 127–128
Eternal Curse on the Reader of These Pages
117, 258, 292
Evelina Hoisel
4, 79, 87, 181, 257
F
fade-in
20, 212
;
see also aerial shot; camera; camera angles; camera shots; ciné-roman ; close-up; cut; cutaway; cutback; dissolve; fade-out; freeze frame; iris in/out; mise-en-scène ; montage; nouveau roman ; objective narration; pan shot; soundtrack; tracking shot; zoom shot; zoom-in; zoom-out
fade-out
20, 40
;
see also aerial shot; camera; camera angles; camera shots; ciné-roman ; close-up; cut; cutaway; cutback; dissolve; fade-in; freeze frame; iris in/out; mise-en-scène ; montage; nouveau roman ; objective narration; pan shot; soundtrack; tracking shot; zoom shot; zoom-in; zoom-out
fantasy
2, 18, 20, 22, 71, 73, 106–107, 116, 139, 145, 155, 158, 176, 179, 184, 189, 214, 219, 243, 251, 253, 264, 266, 270
Fanny (Raba)
see Heartbreak Tango
Far from the Madding Crowd
17, 62–63
feminist, the/a
219, 237
discourse
217, 239–240, 269
theory 187
see also anti-feminist discourse
feuilleton
82, 97, 98, 121, 128, 147, 254, 266
;
see also folletín ; photonovel
Fiddler on the Roof
234, 307
film
vii, xiii, 1–3, 5–6, 10, 14–25, 27–52, 54–55, 57–77, 80–81, 88–91, 100–102, 105, 107, 110–111, 113, 118–132, 134–138, 140–142, 144–145, 148–150, 152, 156, 159, 161, 165–171, 174–180, 182–185, 188–192, 194–197, 199–208, 210–221, 223–235, 237–239, 243, 245, 248–249, 252, 254, 257–260, 262–264, 267–268, 270, 272–273, 290–291, 293–297, 299–300, 302–305, 308, 310
techniques
6, 20, 27, 31, 34, 36–37, 46, 60, 136, 144, 156, 177, 212, 223–224, 245, 258
;
see also aerial shot; camera; camera angles; camera shots; ciné-roman ; close-up; cut; cutaway; cutback; dissolve; fade-in; fade-out; freeze frame; iris in/out; mise-en-scène ; montage; nouveau roman ; objective narration; pan shot; soundtrack; tracking shot; zoom shot; zoom-in; zoom-out
film noir
73, 75, 121, 167–168, 174, 182, 211–212, 302
Fitzgerald
39, 58–59, 282–283, 286
flashback
19, 40, 59, 149–151, 220, 225
;
see also flash-forward
flash-forward
31, 60, 149
;
see also flashback
folletín
147, 150, 264
;
see also feuilleton ; photonovel
fondu
20
see also aerial shot; camera; camera angles; camera shots; ciné-roman ; close-up; cut; cutaway; cutback; dissolve; fade-in; fade-out; freeze frame; iris in/out; mise-en-scène ; montage; nouveau roman ; objective narration; pan shot; soundtrack; tracking shot; zoom shot; zoom-in; zoom-out
footnotes
20–21, 100, 112, 172–174, 179, 194–198, 200, 217, 258–259, 266–267
;
see also Buenos Aires Affair, The; Kiss of the Spider Woman
forbidden
161, 170–171, 179, 233–234, 237
;
see also interdiction
found object 81
see also Charles Demuth; Francis Picabia; Man Ray; proto-pop
fox-trot 147
see also Carlos Gardel; Rubias de New York
fragmentation
1, 16, 22, 28, 243, 245, 248, 253, 271
;
see also fragmented being
fragmented being
115, 220
visual image
97, 154
;
see also fragmentation
Francine Masiello
7, 11, 14, 77, 129, 193, 260, 262, 291
Francis Picabia
80, 86
;
see also Charles Demuth; found object; Man Ray; proto-pop
freeze frame 150
see also aerial shot; camera; camera angles; camera shots; ciné-roman ; close-up; cut; cutaway; cutback; dissolve; fade-in; fade-out; freeze frame; iris in/out; mise-en-scène ; montage; nouveau roman ; objective narration; soundtrack; zoom shot; zoom-in; zoom-out
French Connection, The
234, 307
Freud
18, 21, 96–97, 105–106, 112, 120, 137, 139, 187, 194, 198, 202, 217, 229, 245, 303
;
see also condensation; desire; dream; dream-work; displacement; Lacan; latent content; manifest content; psychoanalysis; unconscious
fusion
vii, 18, 115, 176, 193, 208
G
Gabriel Garcia Márquez 262
Gertrude Stein
17, 58, 60
General Villegas
119, 121, 180, 299, 302
George Cukor
135, 166–168, 174, 297, 300
gigantism
17, 99, 100, 191
;
see also Claes Oldenburg; macroscopic dimension; macroscopic view; Roy Lichtenstein
Gilbert Seldes
17, 23, 42, 61
Giorgio de Chirico
80, 82
Gladys (Gladys Hebe D’Onofrio)
see Buenos Aires Affair, The
Gone with the Wind
119, 140, 300
Grand Hotel
171, 174–175, 299
Greta Garbo
166, 170–171, 301, 303, 311
Guillermo Cabrera Infante
72–73, 257
H
Hays Code
see also McCarthy era; pre-Code
see Motion Picture Production Code
Heartbreak Tango
vii, 9, 16, 19, 74, 95, 97, 105, 107, 117, 145, 147, 148, 149, 151, 152, 153, 155, 156, 157, 158, 159, 160, 161, 167, 260, 264, 277, 287, 292
Doña Leonor (Mrs. Etchepare)
99, 150
Francisco Catalino Páez 161
Juan Carlos
101, 105, 147, 150–152, 155, 264, 306
Mabel
98, 101, 147, 151, 154–161, 163
Nené
98–99, 150–154, 156, 159–161
Raba (Fanny)
98, 147, 151–152
;
see also Boquitas Pintadas
Hedy Lamarr
168, 224, 238, 246, 266, 297
Herbert Marcuse
18, 112, 306
hero
21–22, 71, 98, 138, 201, 228, 239, 249, 252–254, 273
historical overview
vii, 16, 23, 37
H. G. Wells
33, 64–65
;
see also Wells
Hollywood
vii, 15, 19–21, 27, 48, 59, 71, 74–76, 88–92, 94, 97–99, 106, 119–120, 122–123, 129, 134, 136, 140–144, 147–148, 156, 158, 160, 167, 169–171, 173, 176, 180–181, 183–184, 189, 205, 211–212, 218–219, 224–225, 227, 230, 232, 235, 243–246, 252, 254, 257, 262–263, 265–266, 268, 270, 272, 296, 304
homosexuality
11, 19–20, 123, 134, 138, 166, 181, 195–197, 204–205, 259, 261, 267
;
see also homosexual
homosexual
6, 9, 11, 16, 21, 138, 164, 166, 172, 183, 187, 191, 277
stereotype of 183
see also homosexuality
Horkheimer
96, 248, 272
;
see also Adorno; culture industry; industrial society
Humoresque
167, 169, 174–175, 302
I
identity
16, 21–22, 53, 217, 220, 243, 245–246, 248, 250–251, 253–254, 268
;
see also postmodern hero; postmodern subject
ideology
18, 74, 89, 91, 94, 96, 99, 106, 118, 142, 181, 187, 191, 205, 212, 250
ideologemes
18, 92
; see also hollywoodemes ; ideology
I Walked with a Zombie
73–74, 203, 205, 301
I’ll Cry Tomorrow
168, 174–175
image
1, 3, 6, 13, 20, 26–28, 32, 40, 48, 51, 57–58, 69, 76–77, 87, 94, 97, 103, 109, 111, 115, 124, 139, 154, 171, 176, 187, 201–203, 209, 212, 215, 224, 229, 234, 240, 253–254, 272–273
Independent Group, The
see Pop Art
industrial society
18, 96, 245
;
see also Adorno; commodified society; culture industry; Horkheimer
insubordination
88, 104, 105
;
see also irreverence; subversion; subversive, a
interdiction 179
see also forbidden
internal monologues 263
see also dialogic and Menippean aspect; interior monologue; polyphony
interior monologue
19–20, 97, 98, 101, 108, 124–125, 133, 137, 147, 150–151, 152, 172, 179–180, 200, 243, 266
;
see also dialogic and Menippean aspect; internal monologues; polyphony
International Exhibition of the New Realists
see Pop Art
intertitle 44
see also title card
iris in/out 51
see also aerial shot; camera; camera angles; camera shots; ciné-roman ; close-up; cut; cutaway; cutback; dissolve; fade-in; fade-out; freeze frame; mise-en-scène ; montage; nouveau roman ; objective narration; pan shot; soundtrack; tracking shot; zoom shot; zoom-in; zoom-out
irreverence
vii, 18, 99, 107, 113
;
see also insubordination; subversion; subversive, a
J
J’accuse
17, 47, 51
;
see also Abel Gance
Jacques Tourneur
182, 301, 303
Jalousie
17, 52–56, 293
; see also Allan Robbe-Grillet; Jealousy & In the Labyrinth
James Rosenquist
85–86, 95, 103–104
Javier Torre
15, 122, 296
Jealousy & In the Labyrinth
54–55, 293
; see also Allan Robbe-Grillet; Jalousie
José Amícola
xi, 7, 12, 18, 77, 91, 118–119, 122
José Casals (Toto)
see Betrayed by Rita Hayworth
Joseph Warren Beach
40, 63
Juan Carlos
see Heartbreak Tango
Jules Romains
17, 23, 42–43, 46
;
see also Donogoo-Tonka or the Miracles of Science: a cinematographic tale
Julio Cortázar
13, 79, 116, 262
K
Kamilla Elliott
3, 5–6, 29
Kathleen Wheaton
xiii, 292–293
Kiss of the Spider Woman
6–7, 9–11, 13–16, 73–77, 96, 100, 107, 117–118, 122, 129, 179, 184, 193, 217, 220, 224, 226, 258–262, 267–268, 270, 291–292, 294–295, 300, 310–311
Molina
20–21, 73–75, 92, 101, 107, 122–123, 172, 179–210, 212–215, 252–253, 259–260, 267–268, 273, 300, 310
Leni
179, 192, 196–197, 208, 212–213
Valentín
20–21, 92, 100, 179–211, 214–215, 252, 254, 267–268, 273, 300
;
see also El beso de la mujer araña
10, 20, 72–73, 76, 92, 100–101, 117–118, 180, 183–184, 195, 267, 292, 295, 297, 308–310
kitsch
vii, 9, 18, 21, 87–88, 91–95, 97–99, 113, 128–129, 133, 135, 148, 151, 153–154, 167, 183–184, 187–188, 203, 210, 213, 218, 221, 231, 242, 267, 270, 304
Kitsch Cabinet
94, 133
;
see also cliché
Kitsch Cabinet see kitsch
Kurt Schwitters
80, 82, 85–86
L
Lacan
120, 217, 227, 235, 286
see also Freud
18, 21, 96–97, 105–106, 112, 120, 137, 139, 187, 194, 198, 202, 217, 229, 245, 303
psychoanalysis
3, 20–21, 54, 94, 96, 112, 120, 124, 139, 179, 217, 227, 232, 245, 263, 266–269
La cara del villano
73, 118, 292, 310
La Coquille et le Clergyman
52, 66
La dame aux camélias
147, 166
La fanciulla del West
239
La fin du monde, filmée par l’ange N.-D .
43, 48–50, 66, 79
;
see also Blaise Cendrars
L’année dernière à Marienbad
17, 57–58, 66, 293
;
see also Allan Robbe-Grillet; ciné-roman; nouveau roman; Pour un Nouveau Roman
La tajada. Gardel, uma lembrança
118, 292
latent content
21, 194–195, 202, 209
;
see also condensation; dream; dream-work; desire; displacement; Freud; Lacan; manifest content; psychoanalysis; unconscious
Latin American Boom
see Boom
La traición de Rita Hayworth
19, 73–74, 100, 117–122, 132, 134, 263, 275, 291–292
; see also Betrayed by Rita Hayworth
Lawrence Alloway
82–83, 86
Legion of Decency
see Motion Picture Production Code
Leo (Leopoldo Druscovich)
see Buenos Aires Affair, The
Leni
see Kiss of the Spider Woman
Lesedrama
vii, 32
;
see also closet screenplay; Lesenscenario ; closet drama
Lesenscenario
vii, 32
;
see also closet screenplay; Lesedrama ; closet drama
Letter, The
45, 84, 126, 150, 152, 159, 168, 202–203, 258, 260, 271
Linda Hutcheon 2
5, 276, 285, 290
Little Foxes, The
73, 168
Luke McKernan
17, 32, 45, 61–62
M
Mabel
see Heartbreak Tango
McCarthy era 230
see also Motion Picture Production Code; pre-Code
macho
118, 122, 134, 147, 166, 186–188, 191, 193, 226, 239–240, 243, 250, 254, 261
;
see also chauvinism
macroscopic dimension 99
macroscopic view
87, 102
;
see also Claes Oldenburg; gigantism; Roy Lichtenstein
Made for Each Other
193, 234
Maldición eterna a quien lea estas páginas
117–118, 292, 309
Manchurian Candidate, The
71
manifest content
21, 194, 209
;
see also dream-work; condensation; desire; displacement; Freud; Lacan; latent content; psychoanalysis; unconscious
Man Ray 86
see also Charles Demuth; found object; Francis Picabia; Man Ray; proto-pop
María Esther
see Buenos Aires Affair, The
Marie Antoinette
168, 175
Marilyn Monroe
95, 157, 257, 304
Mario Vargas Llosa
10, 12, 116, 126, 262
Marlene Dietrich
73, 167, 170–171, 173, 177, 294, 303
Mario Clavel 202
see also Mi Carta
mass culture
86–88, 91, 94, 148, 248, 263, 267–268
mass media
xi, 2, 4, 8–10, 18, 20, 79, 81–83, 87–88, 94, 99, 113, 116, 175–176, 250, 253, 268, 272, 291
Mayor of Casterbridge, The
37, 62–63
Mecha Ortiz
143–144, 161, 169, 222, 300
melodrama
12, 18, 20, 73, 128, 140, 154, 167, 211–212, 264, 269, 272
Mexico
10–11, 73, 116–117, 121–122, 219–220, 222, 232–233, 238–239, 241–242, 252, 308, 310–311
Mi Carta
202
see also Mario Clavel
military, the
180, 219
dictatorship
18, 20, 85, 106–107, 219, 237, 241, 259, 260, 268
situation 309
see also Condor Operation; Perón; Peronism; politics; Proceso de Reorganización Nacional
Mimmo Rotella
86, 106, 157
mise-en-scène
38, 60
;
see also aerial shot; camera; camera angles; camera shots; ciné-roman ; close-up; cut; cutaway; cutback; dissolve; fade-in; fade-out; freeze frame; iris in/out; montage; nouveau roman ; objective narration; pan shot; soundtrack; tracking shot; zoom shot; zoom-in; zoom-out
Mistress, The
169, 218, 221, 223–227, 232, 234, 238
Mita
see Betrayed by Rita Hayworth
modern art
49, 85, 96
literary tradition
15, 270
novel
vii, 2, 8, 29, 37–38, 40–41
world 250
see also modernism; postmodern
modernism
2, 38, 81, 88, 116
modernity
92, 110, 244–245, 250, 262
Moles
91, 94
;
see also kitsch
Molina
see Kiss of the Spider Woman
montage
8, 17, 20, 24, 28–29, 31, 37–38, 40–41, 57, 59–60, 68–69, 87, 91, 99, 145, 269, 295
;
see also aerial shot; camera; camera angles; camera shots; ciné-roman ; close-up; cut; cutaway; cutback; dissolve; fade-in; fade-out; freeze frame; iris in/out; mise-en-scène; nouveau roman ; objective narration; pan shot; soundtrack; tracking shot; zoom shot; zoom-in; zoom-out
Motion Picture Production Code 170
Legion of Decency
170, 181, 185, 213
Production Code
168, 170, 213
;
see also censorship; McCarthy era; pre-Code
Motion Picture Producers and Distributors of America 170
Mujeres
134, 144, 168, 174–175, 300, 302, 311
multiple perspectives
19, 150
Mystery of the Rose Bouquet
118, 292
myth
20–22, 74, 98, 107, 109, 112, 116, 135, 154–155, 158, 179, 217, 243–245, 247, 252–254, 271–272
mythology
74, 81, 91, 96, 135, 158, 225, 245
N
narrative techniques
3, 41, 116, 172, 217, 266, 269
Nélida
see Heartbreak Tango
Nené
see Heartbreak Tango
Neither Conqueror nor Conquered
234
Ni vencedores, ni vencidos
234
Norman Lavers
4, 7, 14, 100
novelization
vii, 26, 32, 34
Nouveau Réalisme
81see also Pop Art
nouveau roman
vii, 17, 31, 41–42, 52–54, 290–291, 293
;
see also Allan Robbe-Grillet; ciné-roman ; objective narration; Pour un Nouveau Roman
O
objective narration
19–20, 151, 163
;
see also aerial shot; camera; camera angles; camera shots; ciné-roman ; close-up; cut; cutaway; cutback; dissolve; fade-in; fade-out; freeze frame; iris in/out; mise-en-scène ; montage; nouveau roman ; pan shot; soundtrack; tracking shot; zoom shot; zoom-in; zoom-out
Orson Welles
149, 301, 303
;
see also Citizen Kane
P
Pamela Bacarisse
7, 12, 115, 119
Panamérica
257
see also Agrippino de Paula
Pancho
see Heartbreak Tango
pan shot
156, 214
;
see also aerial shot; camera; camera angles; camera shots; ciné-roman ; close-up; cut; cutaway; cutback; dissolve; fade-in; fade-out; freeze frame; iris in/out; mise-en-scène ; montage; nouveau roman ; objective narration; soundtrack; tracking shot; zoom shot; zoom-in; zoom-out
parody
1, 19, 107, 112, 162, 172
Perón
20, 119, 163, 180, 219, 222, 229, 299, 301–305, 307–308
;
see also Condor Operation; military government; Peronism; politics
Peronism
220, 222, 229, 232, 235, 252
;
see also Condor Operation; military government; Perón; politics
photography
3, 19, 43, 115, 151, 295
photonovel 224
see also feuilleton; folletín
politics
13, 16, 18, 20, 93, 107, 166, 181, 189–191, 197, 217, 220, 222–223, 227, 229–230, 232–233, 237, 259, 261, 265–267, 269
;
see also Condor Operation; McCarthy era; military coup; military dictatorship; military government; Perón; Peronism; Proceso de Reorganización Nacional
polyphonic chain 22
pop narrative
vii, 17, 79
web of desire
20, 108, 179
;
see also archaic; Bakhtin; Bakhtinian carnivalized discourse; Bakhtinian “carnivalization” of discourse; carnival; carnivalization; carnivalized literature; dialogic and Menippean aspect; polyphony
polyphony
108, 110
;
see also archaic; Bakhtin; Bakhtinian carnivalized discourse; Bakhtinian “carnivalization” of discourse; carnival; carnivalization; carnivalized literature; dialogic and Menippean aspect; polyphonic chain; polyphonic discourse; polyphonic pop narrative; polyphonic style; polyphonic web of desire
Poonam Arora
12, 28, 77, 197, 211, 276
pop
vii, xi, 1–5, 7–10, 15–18, 22, 36, 49, 78–89, 93–108, 110–111, 113, 117, 120, 127, 133, 151, 153, 155–156, 179, 181, 217–218, 221, 231, 244–245, 251–255, 258, 262–264, 269–274, 296–297
literature
vii, xi, 1–2, 4, 7–10, 16–18, 22, 78–79, 87–88, 108, 113, 181, 270, 272–274
narrative
vii, 1, 4, 7, 16–17, 79
;
see also Pop Art
Pop Art
vii, 2–5, 7–10, 17–18, 22, 78–88, 94–97, 99–100, 102–103, 105, 108, 110–111, 113, 153, 218, 258, 262, 269, 273
American Supermarket, The
3, 86, 111
Environments, Situations, Spaces
85
Independent Group, The
82–84
International Exhibition of the New Realists 86
New Media – New Forms in Painting and Sculpture
85
New Paintings of Common Objects
86
Shopping: A Century of Art and Consumer Culture
86
Six Painters and the Object
86
Symposium on Pop Art 85
see also pop; pop literature; pop narrative; proto-pop
Post-Boom
116–117, 294
;
see also Boom
postmodern
1–2, 4–5, 7–9, 16–18, 22, 28–29, 38, 77–79, 110–113, 115, 117, 147, 197, 212, 243, 245, 251, 254, 269–273, 290–291
subject
4, 16, 250, 251
;
see also identity
Pour un Nouveau Roman
52–53, 293
; see also Allan Robbe-Grillet; ciné-roman; nouveau roman ; objective narration
Pozzi
183, 205, 219–220, 222–223, 227, 229–230, 232–237, 239–242, 252–254, 273
;
see also Pubis angelical
pre-cinema 35
see also proto-cinema literature; proto-film
pre-Code 167
see also McCarthy era; Motion Picture Production Code
prison
20, 62, 107, 128, 161, 179–181, 183, 185, 189, 192, 205–208, 223, 233, 241, 253, 258
;
see also Kiss of the Spider Woman ; military, the; politics
Proceso de Reorganización Nacional
219
see also Condor Operation; McCarthy era; military coup; military dictatorship; military government; Perón; Peronism;
Production Code
see Motion Picture Production Code
proto-cinema literature 35
see also pre-cinema; proto-film
proto-film
vii, 35
;
see also pre-cinema; proto-cinema literature;
proto-pop 86
see also Pop Art
pseudoindividuality 248
see also postmodern hero; postmodern subject
psychoanalysis
3, 20–21, 54, 94, 96, 112, 120, 124, 139, 179, 217, 227, 232, 245, 263, 266–269
;
see also condensation; desire; displacement; dream; dream-work; Freud; Lacan; latent content; manifest content; unconscious
Pubis angelical
15–16, 21–22, 73, 100, 107, 117–118, 180, 183, 205, 214, 217–219, 223–226, 228–234, 238, 247, 252, 258–259, 269–270, 292, 296–297, 309
Ana
22, 100, 107, 122, 183, 205, 217–227, 229, 232–243, 246, 248–254, 259, 269, 271, 273
Ana’s diary
100, 225, 227, 236, 243
Beatriz
7, 12, 219, 222, 225, 227, 234, 236–237, 239–240, 242, 246, 292
Pozzi
183, 205, 219–220, 222–223, 227, 229–230, 232–237, 239–242, 252–254, 273
W218
233–242, 252, 271, 273
Puig
xi, xiii, 1–2, 4, 6–7, 9–25, 27–28, 30–32, 45, 66, 70–79, 81, 89, 91–92, 94–108, 110–113, 115–137, 139–145, 147–158, 160–167, 169–186, 188–221, 224–227, 229, 231–232, 235, 237–238, 243, 245–248, 250–251, 253–255, 257–273, 290–295, 297, 299, 309, 311
;
see also Vereda Tropical
Q
Quai des orfèvres
120, 293, 303
R
Raba (Fanny)
see Heartbreak Tango
radio soap opera
98, 154, 263
Ramuncho 149
see also tango
Raúl de la Torre
15, 214, 219, 292, 309
Ray Gun Theater
see Pop Art
Recuerdo de Tijuana
73, 118, 121, 292, 310
representation
10, 12, 16–18, 21, 33, 58, 63, 66–67, 71, 75–76, 85, 109–110, 115, 129, 139, 143, 170–171, 176, 179, 181, 204, 206, 212, 232, 236–237, 246, 248, 251–252, 262, 264
Ricardo Piglia
77, 117, 129, 258–259
Richard Hamilton
83, 95, 97
;
see also Pop Art
Rita Hayworth
vii, 13, 16, 18–19, 72–74, 100, 115, 117–122, 127, 129, 131–133, 140–141, 170, 181–182, 209–210, 246, 263, 266, 291–292, 300–303, 306
road signs
19, 97, 151, 153
;
see also Allan D’Arcangelo; Pop Art
Robert Alter
12, 14, 172, 265
Robert Giusto
see Buenos Aires Affair, The
Robert Humphrey 40
see also stream of consciousness; William James
Robert Indiana
86, 102
;
see also Pop Art
Roberto Drummond 79
see also pop literature
Robert Rauschenberg
85–86, 153
;
see also Pop Art
Rogério Menezes 79
see also pop literature
Roland Barthes
21, 55, 243, 245, 293
;
see also myth; urban myth
Ronald Christ
126, 292–293
Rouben Mamoulian
140, 299
Roy Lichtenstein
79, 85–86, 100, 104, 111
;
see also Claes Oldenburg; macroscopic dimension; macroscopic view; gigantism; Pop Art
Rubias de New York 147
see also Carlos Gardel; fox-trot
S
Samuel Beckett
17, 37, 69, 292
Sangre de amor correspondido
105, 117–118, 292, 309
Saúl Sosnowski
101, 123–126, 128–129, 292
seventies
13, 18, 66, 78, 106–107, 273
Shanghai Gesture, The
71, 294
silent film
51, 59, 61, 239
;
see also film
sixties
10, 18, 66, 78, 106–107, 131, 224, 251, 273
society of the spectacle
12, 18, 22, 115
;
see also Debord
soundtrack
21, 36, 68, 131, 155, 203, 207, 218
;
see also aerial shot; camera; camera angles; camera shots; ciné-roman ; close-up; cut; cutaway; cutback; dissolve; fade-in; fade-out; freeze frame; iris in/out; mise-en-scène ; montage; nouveau roman ; objective narration; pan shot; tracking shot; zoom shot; zoom-in; zoom-out
Splendor in the Grass
71, 295
stardom
18, 21, 91–92, 158, 244, 252, 296
stereotypes
91, 94, 98–99, 136, 148, 188, 215, 242, 249, 264
Steve Erickson
17, 70, 269
Steven G. Kellman
3, 6, 35
stream of consciousness
19–20, 39–40, 97, 101, 103, 106, 133, 137, 151, 153, 161, 179–180, 221, 236
;
see also Robert Humphrey; William James
Stuart Hall
13, 250, 272
;
see also postmodern subject
studio system
18, 90, 181
subversion
2, 33, 104–105, 230, 260–261, 267–268
;
see also insubordination; irreverence; subversive, a
subversive, a 260
outlook 11
see also insubordination; irreverence; subversion
supratext
169, 171–173, 177
Sutter’s Gold
17, 47–48, 295
Suzanne Jill Levine
xi, 7, 12, 77, 102, 105, 107, 119, 132–133, 148–149, 151, 163, 260, 292
Symposium on Pop Art
see Pop Art
T
tango
vii, 9, 16, 19, 72, 95, 97, 105, 107, 117–118, 145, 147–149, 151–153, 155–161, 167, 258, 260, 264, 292, 299–300, 302
;
see also Alfredo Le Pera
Tess of the D’Urbervilles
17, 62, 297
This Man Must Die
70, 296
Thomas Hardy
17, 37, 61–63, 297
title card 44
see also intertitle
Tom Wesselman
85–86
;
see also Pop Art
Toto
see Betrayed by Rita Hayworth
tracking shot
57, 156
;
see also aerial shot; camera; camera angles; camera shots; ciné-roman ; close-up; cut; cutaway; cutback; dissolve; fade-in; fade-out; freeze frame; iris in/out; mise-en-scène ; montage; nouveau roman ; objective narration; pan shot; soundtrack; zoom shot; zoom-in; zoom-out
tradition
vii, 1–2, 15, 17–18, 42, 58, 66–67, 74, 78, 88, 93, 97, 99–101, 104, 107, 110, 112–113, 115, 127, 258, 270–273
;
see also modernism
Tropical Night Falling
118, 130, 292
U
unconscious
21, 101, 104, 106, 122, 129, 134, 136, 138, 145, 161–162, 164–165, 194–196, 199–200, 203, 209–211, 216–217, 221, 234–235, 240, 250, 259, 268
;
see also desire; condensation; displacement; dream; dream-work; Freud; Lacan; latent content; manifest content; psychoanalysis
urban myth 88
mythology 96
see also Roland Barthes
Under a Mantle of Stars
118, 292
V
Valentín see Kiss of the Spider Woman
variable paintings 103
see also Pop Art
Vereda Tropical
15, 121–122, 296
; see also Puig
Vertigo
71, 257, 296, 305
Victor Fleming
140–141, 167, 182, 293
Visconti
234, 305, 307–308
Vivien Leigh
140, 169, 295
W
Warhol
85–88, 95, 104, 112, 154
;
see also Pop Art
Waltz, The Great
141, 182, 308
web
20–21, 41, 106, 127, 179–180, 183, 186, 195, 202, 207–208, 211, 235
;
see also desire; Kiss of the Spider Woman
Wells
33, 64–66, 296
;
see also H. G. Wells
William James 39
see also stream of consciousness
William Wyler
48, 168, 304
Wolf Vostell 156
see also Pop Art
Worley
12, 73, 141, 144–145, 150, 152, 156, 167, 192, 195–196, 199, 203–204, 215–216, 297
Z
Ziegfeld, The Great
119, 136, 168
zoom shot 36
see also aerial shot; camera; camera angles; camera shots; ciné-roman ; close-up; cut; cutaway; cutback; dissolve; fade-in; fade-out; freeze frame; iris in/out; mise-en-scène ; montage; nouveau roman ; objective narration; pan shot; soundtrack; tracking shot; zoom-in; zoom-out
zoom-in
99–100
;
see also aerial shot; camera; camera angles; camera shots; ciné-roman ; close-up; cut; cutaway; cutback; dissolve; fade-in; fade-out; freeze frame; iris in/out; mise-en-scène ; montage; nouveau roman ; objective narration; pan shot; soundtrack; tracking shot; zoom shot; zoom-out
zoom-out 156
see also aerial shot; camera; camera angles; camera shots; ciné-roman ; close-up; cut; cutaway; cutback; dissolve; fade-in; fade-out; freeze frame; iris in/out; mise-en-scène ; montage; nouveau roman ; objective narration; pan shot; soundtrack; tracking shot; zoom shot; zoom-in