Abstract

Abstract:

This article seeks to address the specificity of filmic form in the work of Gonzalo Suárez, a filmmaker very much associated with literature and the written word. It argues for the use of the word translation rather than adaptation in the movement from page to screen. It seeks to identify certain motifs and images in Suárez's early work and suggests that it is distinguished by mutation and transference that, in turn, determine questions of filmic structure and subjectivity. In this discussion of form, the article focuses upon the idea of the "void" as a primal space of creation and does so with reference to Suárez's 1997 short piece on Chillida. This is done in order to draw out a coherent relation between the first films and the later work.

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Additional Information

ISSN
2164-9308
Print ISSN
0034-818X
Pages
pp. 305-326
Launched on MUSE
2018-10-10
Open Access
No
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