Table of contents
Series editor’s preface
XI
Acknowledgments
XIII
Introduction
1
Chapter 1The cinema(tic) novel: Definitions and brief historical overview
23
Closet screenplay, Lesedrama or
Lesenscenario and novelization
32
Pre-cinema or proto-film literature
35
The influence of cinema on the modern novel: A brief historical
overview
37
The French tradition of film scenarios and
ciné-roman
42
The nouveau roman
52
British and American cinematic novels: A critical perspective
58
Brief review of critical and analytical material on Puig’s
cinematic novels
72
Chapter 2Pop Art and Puig’s polyphonic pop narrative
79
Pop Art and pop literature
79
Culture and the film industry: Kitsch and the democratization of art and
culture
88
Puig’s pop techniques and irreverence
99
Puig’s carnivalized pop style
108
Chapter 3From reel to real: The fusion of reality and fiction in Puig’s cinematic discourse in
Betrayed by Rita Hayworth
115
Film in an author’s life
118
The prelude to a kiss: Film in characters’ lives in Betrayed by
Rita Hayworth
129
Chapter 4Dancing a Heartbreak Tango with Hollywood stars and their
Boquitas Pintadas
147
Chapter 5
The Buenos Aires Affair
163
Chapter 6
The Spider Woman’s polyphonic web of desire
179
Chapter 7Puig’s characters and their mythical identity in Pubis
angelical
217
The plot, themes and labyrinthine cinematic structure of the
novel
217
Mythical identities
243
Conclusion
257
Works cited
275
AppendixPuig’s timeline
299
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