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Journal articles on the topic 'Bordwell, David'

Author: Grafiati

Published: 4 June 2021

Last updated: 15 February 2022

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1

Lehman, Peter. "Reply to David Bordwell." Cinema Journal 37, no. 2 (1998): 90. http://dx.doi.org/10.2307/1225645.

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2

Przylipiak, Mirosław. "On the Notion of Norm in David Bordwell’s System." Panoptikum, no. 22 (December 17, 2019): 79–102. http://dx.doi.org/10.26881/pan.2019.22.02.

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The paper scrutinizes a notion of norm in David Bordwell’s system of film aesthetics. It concerns such issues as: a relationship between Jan Mukařovský’s concept of norm and the use Bordwell is making of it; procedures of establishing norms on the basis of sample analysis; justification of norms; list of norms and their status; a dialectic of norm and deviation as a tool for film analysis.

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3

Eagle, Herbert. "The Cinema of Eisenstein David Bordwell." Film Quarterly 48, no. 2 (1994): 58–60. http://dx.doi.org/10.2307/1213098.

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4

Eagle, Herbert. ": The Cinema of Eisenstein . David Bordwell." Film Quarterly 48, no. 2 (1994): 58–60. http://dx.doi.org/10.1525/fq.1994.48.2.04a00090.

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5

Kozloff, Sarah. ": Narration in the Fiction Film . David Bordwell." Film Quarterly 40, no. 1 (1986): 43–45. http://dx.doi.org/10.1525/fq.1986.40.1.04a00150.

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6

Johnson, William. ": Ozu and the Poetics of Cinema . David Bordwell." Film Quarterly 42, no. 4 (1989): 29–31. http://dx.doi.org/10.1525/fq.1989.42.4.04a00100.

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7

Belton, John. ": On the History of Film Style . David Bordwell." Film Quarterly 52, no. 4 (1999): 55–57. http://dx.doi.org/10.1525/fq.1999.52.4.04a00180.

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8

Carrillo Canán, Alberto J. L., May Zindel, and Víctor Gerardo Rivas López. "Las emociones cinematográficas en Bordwell." Nuevo Itinerario, no. 10 (November 16, 2015): 1. http://dx.doi.org/10.30972/nvt.010888.

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<p>Para explicar la experiencia del espectador la teoría cognitiva del cine narrativo (TCC) recurre a capacidades humanas de corte universal que funcionan independientemente del medio cinematográfico como tal y que, en particular, son las comunes en la experiencia de la literatura narrativa. El caso de las emociones ilustra esta situación. Sin embargo, en la obra original de la TCC, el famoso libro de David Bordwell <em>Narration in the Fiction Film </em>(1985), el tratamiento que se da ahí a las emociones muestra que Bordwell no solamente privilegia emociones de carácter lit

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9

Wyatt, Justin. ": Post-Theory: Reconstructing Film Studies . David Bordwell, Noel Carroll." Film Quarterly 51, no. 1 (1997): 55–57. http://dx.doi.org/10.1525/fq.1997.51.1.04a00170.

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10

Kozloff, Sarah. "Review: Narration in the Fiction Film by David Bordwell." Film Quarterly 40, no. 1 (1986): 43–45. http://dx.doi.org/10.2307/1212310.

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11

Brito, Matheus De, and Osvaldo Manuel Silvestre. "Cinema e Literatura em Linha." Matlit Revista do Programa de Doutoramento em Materialidades da Literatura 1, no. 2 (2014): 149–54. http://dx.doi.org/10.14195/2182-8830_1-2_11.

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Apresentação sumária de oito publicações em linha (blogues, revistas e sítios web) sobre cinema e literatura: David Bordwell, Girish Shambu, Jonathan Rosenbaum, Film Studies for Free, La Furia Umana, Revista Cinética, Letraceluloide, Adaptaciones de la Literatura española.

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12

Johnson, William. "Review: Ozu and the Poetics of Cinema by David Bordwell." Film Quarterly 42, no. 4 (1989): 29–31. http://dx.doi.org/10.2307/1212828.

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13

Belton, John. "Review: On the History of Film Style by David Bordwell." Film Quarterly 52, no. 4 (1999): 55–57. http://dx.doi.org/10.2307/1213786.

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14

CASEBIER, ALLEN. "David Bordwell and Noël Carroll, Eds., Post-Theory: Reconstructing Film." Journal of Aesthetics and Art Criticism 56, no. 3 (1998): 313. http://dx.doi.org/10.1111/1540_6245.jaac56.3.0313.

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15

Wyke, Maria. "Film Style and Fascism: Julius Caesar." Film Studies 4, no. 1 (2004): 58–74. http://dx.doi.org/10.7227/fs.4.4.

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In studio publicity, trade papers, reviews, articles, and educational materials, Joseph L. Mankiewiczs Julius Caesar (1953) was described and accepted as a faithful and mostly pleasing adaptation of Shakespearean drama to the Hollywood screen. As Variety accurately predicted, it achieved four Oscar nominations, one award for art direction and set decoration, high grosses, a hit soundtrack album, and several subsequent revivals. With the content more or less given, contemporary discussion focussed closely on how the verbal had been visualised, on how theatre had been turned into cinema – in sho

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16

Pucci Jr, Renato Luiz. "Moderna Lavoura Arcaica: a ambivalência estrutural no cinema de arte." Revista Contracampo, no. 13 (December 1, 2005): 95. http://dx.doi.org/10.22409/contracampo.v0i13.501.

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O filme Lavoura Arcaica, dirigido por Luiz Fernando Carvalho (2001), é examinado segundo a perspectiva do 'cinema de arte", uma das linhas do cinema moderno, segundo David Bordwell, de modo a se ressaltar sua dupla estrutura referencial, que combina elementos heterogêneos, por exemplo barrocos e românticos, numa forma ambígua que tem confundido a critica especializada.

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17

Carrillo Canán, Alberto J. L. "Bordwell, Bazin y la ilusión cinematográfica. El sueño de Zavattini como la pesadilla de Bordwell." Nuevo Itinerario, no. 11 (October 18, 2016): 21. http://dx.doi.org/10.30972/nvt.011637.

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Sin duda alguna David Bordwell es el teórico de cine más influyente en la actualidad en el medio anglosajón; su teoría cognitiva de la narración cinematográfica tiene importantes virtudes que en dicho medio la llevaron a desbancar a teorías rivales como la semiótica, la psicológica y la marxista. Por su base cognitivista la teoría de Bordwell tiene una importante tendencia empírica y especialmente hace hincapié en la continuidad entre las operaciones perceptivas y cognitivas en la vida real y en el cine narrativo. Sin embargo, justamente esta virtud cognitivista, que es la fuerza de la teoría

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18

Wyatt, Justin. "Review: Post-Theory: Reconstructing Film Studies by David Bordwell, Noël Carroll." Film Quarterly 51, no. 1 (1997): 55–57. http://dx.doi.org/10.2307/1213541.

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19

Aumont, Jacques. "Review: Figures Traced in Light: On Cinematic Staging, by David Bordwell." Film Quarterly 60, no. 4 (2007): 76–77. http://dx.doi.org/10.1525/fq.2007.60.4.76.

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20

Oropesa, Salvador. "El cine según David Bordwell: Neoformalismo y el concepto de totalidad." Hispania 98, no. 3 (2015): 583–93. http://dx.doi.org/10.1353/hpn.2015.0107.

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21

Bordwell, David. "Picture Planes." October 169 (August 2019): 75–86. http://dx.doi.org/10.1162/octo_a_00360.

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David Bordwell argues that Annette Michelson's impact on film criticism was comparable to Andrew Sarris's. In unearthing the strategies or “schema” regularly used by critics to interpret avant-garde films, he shows that Michelson pioneered an innovative understanding of modernist art as being about human perception and cognition. This new interpretive paradigm proved hugely influential, in part due to Michelson's institutional roles as teacher, translator, and editor.

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22

Silva, Marcel Vieira Barreto, and Leonardo Gonçalves Silva. "A performance do espaço no estilo cinematográfico: Eles voltam e o acampamento do MST." Esferas, no. 19 (February 8, 2021): 34. http://dx.doi.org/10.31501/esf.v0i19.12361.

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Este artigo objetiva analisar a representação formal do acampamento do Movimento dos Trabalhadores Rurais Sem Terra, dimensionando os aspectos denotativos e simbólicos, na textura estilística do filme Eles voltam (dir. Marcelo Lordello, 2012). Como metodologia, pretendemos articular os princípios da análise estilística de David Bordwell (2008; 2013) a uma descrição pormenorizada dos signos que performatizam o espaço cênico do filme, tensionando a dramaturgia entre o real e o ficcional.

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23

Loriguillo-López, Antonio. "La comunicabilidad de lo ambiguo: una propuesta narratológica para el análisis de la ficción televisiva compleja." Signa: Revista de la Asociación Española de Semiótica 28 (June 28, 2019): 867. http://dx.doi.org/10.5944/signa.vol28.2019.25097.

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El presente artículo propone una metodología de análisis de la narración ambigua en la ficción televisiva contemporánea, rasgo estilístico al alza entre propuestas comerciales. A través de la adaptación y aplicación de la comunicabilidad enunciada por David Bordwell como estrategia narrativa en su estudio de los modos de narración cinematográficos a una muestra de series dramáticas de origen anglosajón, se ofrece un primer tratamiento del modo narrativo de lo que desde los estudios televisivos se ha identificado como televisión compleja. Finalmente, se apunta a la correspondencia de este mod

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24

Chatman, Seymour. ": Making Meaning: Inference and Rhetoric in the Interpretation of Cinema . David Bordwell." Film Quarterly 43, no. 4 (1990): 56–59. http://dx.doi.org/10.1525/fq.1990.43.4.04a00360.

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25

SESONSKE, ALEXANDER. "Bordwell, David. Making Meaning: Inference and Rhetoric in The Interpretation of Cinema." Journal of Aesthetics and Art Criticism 49, no. 2 (1991): 172. http://dx.doi.org/10.1111/1540_6245.jaac49.2.0172.

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26

Nowell-Smith, G. "David Bordwell, Making Meaning: Inference and Rhetoric in the Interpretation of Cinema." Screen 34, no. 3 (1993): 293–98. http://dx.doi.org/10.1093/screen/34.3.293.

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27

Mather, Philippe D. "Science-fiction et cognition." Cinémas 12, no. 2 (2007): 75–88. http://dx.doi.org/10.7202/024881ar.

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RÉSUMÉ Cet article tente de faire le point sur les contributions scientifiques de la psychologie cognitive à la théorie du genre, et celle du cinéma de science-fiction en particulier. Le répertoire thématique de la science-fiction est mis à profit pour illustrer la typologie des schémas cognitifs proposée par David Bordwell. La théorie des émotions de Torben Grodal est aussi évaluée en fonction de sa capacité à expliquer une dimension affective de la science-fiction : le sentiment de l'éloignement.

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28

Polan, Dana. "Review: The Rhapsodes: How 1940s Critics Changed American Film Culture by David Bordwell." Film Quarterly 69, no. 4 (2016): 127–29. http://dx.doi.org/10.1525/fq.2016.69.4.127.

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29

Evernden, Christopher Blake, Cynthia A. Freeland, Thomas Schatz, and Frank P. Tomasulo. "Book Reviews." Projections 13, no. 3 (2019): 121–41. http://dx.doi.org/10.3167/proj.2019.130310.

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Rikke Schubart, Mastering Fear: Women, Emotions, and Contemporary Horror (New York: Bloomsbury, 2018), 384 pp., $117 (hardback), ISBN: 9781501336713.Xavier Aldana Reyes, Horror Film and Affect: Towards a Corporeal Model of Viewership (New York: Routledge, 2016), xii + 206 pp., $49.95 (paperback), ISBN: 9781138599611.David Bordwell, Reinventing Hollywood: How 1940s Filmmakers Changed Movie Storytelling (Chicago: University of Chicago Press, 2017), 592 pp., $30.00 (paperback), ISBN: 9780226639550.Todd Berliner, Hollywood Aesthetic: Pleasure in American Cinema (Oxford: Oxford University Press, 20

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30

Cheng, Gong Li. "Uma leitura alegórica do filme Paisagem na neblina, dirigido por Theo Angelopoulos." Travessias 15, no. 2 (2021): 212–28. http://dx.doi.org/10.48075/rt.v15i2.27772.

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O texto analisa a obra fílmica Paisagem na neblina (1988), de Theo Angelopoulos. A leitura está dividida em quatro momentos: o primeiro é consagrado à leitura da Odisseia, mais especificamente, à “Telemaquia”, pois os quatro primeiros cantos desta epopeia, supostamente, inauguram um lócus na literatura ocidental: a viagem em busca do pai, que ecoa fortemente na narrativa fílmica de Angelopoulos. Em seguida, visitamos os conceitos de Vaterland (pátria) e Heimat (terra natal) a fim de explorarmos a relação entre a origem genealógica e a identidade de Telêmaco. No terceiro momento, desenvolvemos

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31

Chatman, Seymour. "Review: Making Meaning: Inference and Rhetoric in the Interpretation of Cinema by David Bordwell." Film Quarterly 43, no. 4 (1990): 56–59. http://dx.doi.org/10.2307/1212750.

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32

Anchieta, Wanderley. "Efeitos da (des)organização do tempo narrativo: a calma de Gustavo Fring e a cooperação do leitor." Galáxia (São Paulo), no. 42 (December 2019): 164–75. http://dx.doi.org/10.1590/1982-25532019340001.

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Resumo O texto ocupa-se de estremar a noção de ordenamento cronológico naquilo em que se relaciona com a formulação da coerência narrativa. Então, mencionamos o crucial papel de cooperação do leitor na ressonância dos efeitos das estratégias das tramas. Utilizamos o referencial teórico advindo do estruturalismo narrativo, com contribuições importantes de autores como Umberto Eco, semioticista, e David Bordwell, cognitivista. Conjugamos o aporte das teorias com análise centrada num personagem, Gustavo Fring, naquilo em que um de seus traços de caracterização revela do arranjo dos tempos e das i

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33

Rohma, Naafi Nur. "CONCEPT OF FORM IN THE FILM DILAN 1990." Capture : Jurnal Seni Media Rekam 12, no. 2 (2021): 117–31. http://dx.doi.org/10.33153/capture.v12i2.2446.

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The Dilan 1990 is an adaption film that chronicles the romance of high school teenagers in the 1990s. This film ranked first in terms of viewership in 2018. The allure of this film that warrants further analysis is its shape notion. This study aims to analyze the Dilan 1990 film's notion of form. This qualitative descriptive study analyzes data using the form concept methodology created by David Bordwell and Kristin Thompson. The findings indicate that the film's forms and processes are extremely complicated. The constructed elements are connected in such a way that they can excite the audienc

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34

Coëgnarts, Maarten, and Peter Kravanja. "Towards an embodied poetics of cinema." Alphaville: Journal of Film and Screen Media, no. 4 (December 21, 2012): 50–67. http://dx.doi.org/10.33178/alpha.4.04.

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Central to Conceptual Metaphor Theory (CMT) is the notion of embodied mind, which states that cognition is shaped by aspects of the body. Human beings make metaphoric use of recurring dynamic patterns of perceptual interactions and motor programmes (image schemas) for abstract conceptualisation and reasoning. According to film scholar David Bordwell the poetics of cinema studies the film as a result of a process of construction. He presents the following key question: how do film-makers use the aesthetic dynamics of the film medium to elicit particular effects from spectators? In this article

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35

Carreiro, Rodrigo. "Continuidade intensificada no som dos filmes: seis tendências e um estudo de caso." Revista FAMECOS 25, no. 2 (2018): 28679. http://dx.doi.org/10.15448/1980-3729.2018.2.28679.

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Este artigo tem como objetivo discutir a pertinência do conceito de continuidade intensificada para a análise da banda sonora de filmes e outros produtos audiovisuais. Além de detalhar a origem do conceito, desenvolvido por David Bordwell, o artigo examina duas tentativas prévias de correspondência conceitual entre o termo e certas estratégias estilísticas edição de som e mixagem, utilizadas de forma recorrente por profissionais de pós-produção sonora. Na seção seguinte, o artigo testa as premissas desenvolvidas através de um estudo de caso: a análise da banda sonora de uma sequência do filme

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36

Parks, Tyler. "Change, Horizon, and Event in Ozu'sLate Spring(1949)." Film-Philosophy 20, no. 2-3 (2016): 283–302. http://dx.doi.org/10.3366/film.2016.0016.

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Over the decades, the films of Yasujirō Ozu have inspired a number of contradictory responses from film critics and theorists. Initially, formal aspects of his work, which Western commentators found difficult to comprehend in relation to the thematic dimensions of the films, were often said to reflect aesthetic and philosophical principles associated with Zen Buddhism. Like the recurrence of plots that explore the transformations of the Japanese family, many formal attributes of Ozu's films were assumed to express various ideas related to traditional Japanese values. In their work on Ozu, Kris

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37

Yuen, Wong Kin. "Culture technoscientifique, corporéisation et wuta pians." Dossier — Mutations de l’action, no. 36 (May 6, 2010): 58–78. http://dx.doi.org/10.7202/041576ar.

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À partir de l’analyse des films de Kungfu produits à Hong Kong, cet article met en évidence les rapports qu’entretient cet art martial, considéré ici comme un discours en soi, avec la technologie et la science. Plusieurs des composantes du Kungfu, qui peuvent être mises en parallèle avec celles de la technologie moderne. On étudiera, à titre d’exemples, la séquence pause-explosion-pause relevée par David Bordwell, la force expressive des sauts et des coups de poing, l’expressivité de l’impression cinétique, les différents affects qui naissent des ruptures rythmiques, la subtile symbiose qui s’

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38

Nayar, Sheila J. "Écriture Aesthetics: Mapping the Literate Episteme of Visual Narrative." PMLA/Publications of the Modern Language Association of America 123, no. 1 (2008): 140–55. http://dx.doi.org/10.1632/pmla.2008.123.1.140.

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The norms of art-cinema narration—evident in the work of such directors as Ingmar Bergman, Satyajit Ray, and François Truffaut—reflect noetic processes and expectations engendered by a culture of the written word. Such norms are absent from Hindi popular films, which have been historically contoured by the psychodynamics of orally based thought and by devices and motifs common to oral storytelling. By funneling art-cinema narration's norms—already meticulously (and impartially) cataloged by David Bordwell—through the prism of orality and through the orally inflected characteristics of Hindi po

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39

Yu, Chen. "The Insight and Limitation of “Post-Theory”: The Poetics Problem of Chinese Cinema Carried by David Bordwell." Critical Arts 34, no. 2 (2020): 69–80. http://dx.doi.org/10.1080/02560046.2020.1720759.

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40

Fell, John. "The Classical Hollywood Cinema: Film Style and Mode of Production to 1960 David Bordwell Janet Staiger Kristin Thompson." Film Quarterly 40, no. 3 (1987): 50–52. http://dx.doi.org/10.2307/1212466.

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41

Fell, John. ": The Classical Hollywood Cinema: Film Style and Mode of Production to 1960 . David Bordwell, Janet Staiger, Kristin Thompson." Film Quarterly 40, no. 3 (1987): 50–52. http://dx.doi.org/10.1525/fq.1987.40.3.04a00110.

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42

Pethő, Ágnes. "Between Absorption, Abstraction and Exhibition: Inflections of the Cinematic Tableau in the Films of Corneliu Porumboiu, Roy Andersson and Joanna Hogg." Acta Universitatis Sapientiae, Film and Media Studies 11, no. 1 (2015): 39–76. http://dx.doi.org/10.1515/ausfm-2015-0015.

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Abstract The paper proposes to focus on the multiple affordances and intermedial aesthetic of the cinematic tableau seen as a performative space resulting in the impression of watching a painting, a theatre stage, a shop window, a diorama, or a photo-filmic installation in which the play between stillness and motion is accompanied by a reflexive emphasis on media and the senses. Such images, described extensively by David Bordwell in his writings on the evolution of film style, are being re-evaluated through debates on the “tableau form,” “absorption and theatricality” in modern art and photog

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43

Sanjaya, William. "Analisis Perubahan Sifat Karakter di Sepanjang Perjalanannya Berdasarkan Pola Kejadian dan Plot Segment dalam Film “Green Book”." Rekam 17, no. 1 (2021): 77–86. http://dx.doi.org/10.24821/rekam.v17i1.4433.

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Film “Green Book” merupakan film yang membahas tentang diskriminasi yang dialami oleh pekerja Italy bersama teman sekaligus atasannya yang merupakan orang Negro. Pola kejadian dalam keseluruhan cerita dapat dilihat melalui rangkaian adegan yang menggambarkan perjalanan karakter. Dalam pola kejadian tersebut, perubahan karakter dapat dilihat melalui setiap masalah dari luar (outer problem) dan masalah batin (inner problem) yang dialami. Perubahan tersebut memberikan nilai – nilai yang merefleksikan kehidupan. Penelitian ini bertujuan untuk mengetahui pola kejadian dan perubahan karakter di sepa

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44

Alvim, Luíza. "Rhythms of Images and Sounds in Two Films by Robert Bresson." Acta Universitatis Sapientiae, Film and Media Studies 16, no. 1 (2019): 173–87. http://dx.doi.org/10.2478/ausfm-2019-0009.

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Abstract Robert Bresson did not only distribute musical excerpts and sounds in his films, but also often conceived the whole film running in a general rhythm, including the repetition and variation of shots in their contents and length. David Bordwell (1985) considered Bresson’s films as examples of the style centred “parametric mode of narration.” More than that, after Jean-Louis Provoyeur (2003), we consider that many shots in Bresson’s films have a characteristic of “denarrativization,” a conception based on musicality, devoid of representational constraints. One example is the tournament s

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45

Loriguillo-López, Antonio. "Anime, otaku y cintas de vídeo: el formato OVA como catalizador de la complejidad narrativa en la animación japonesa contemporánea." Kepes 17, no. 22 (2020): 345–66. http://dx.doi.org/10.17151/kepes.2020.17.22.13.

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En este artículo exploramos la condición de las OVA (las ediciones domésticas de anime) como formato bisagra entre la madurez narrativa del anime en los setenta y la narración compleja de los noventa en adelante. La metodología empleada parte del análisis narratológico inspirado por la poética histórica de los modos de narración realizada por David Bordwell. Así, atendiendo a las categorías de la cognoscibilidad, de la autoconsciencia y de la comunicabilidad, constatamos en los resultados y en las conclusiones que la presunta simplicidad narrativa atribuida al anime no es tal, y que las OVA an

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46

Testa, Carlo. "David Bordwell. The Cinema of Eisenstein. Cambridge, MA: Harvard University Press, 1993. xviii, 316 pp. $65.00 cloth; $29.95 paper." Canadian-American Slavic Studies 30, no. 2-4 (1996): 424–25. http://dx.doi.org/10.1163/221023996x01195.

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HAMADUN, FAIRULADILAN, NASIRIN ABDILLAH, NORMAN YUSOFF, and NUR SYAHIRAH ANANI NOR ADZLI. "REPRESENTASI STAILISTIK FILEM HANG TUAH (1956)." International Journal of Creative Future and Heritage (TENIAT) 9, no. 1 (2021): 1–17. http://dx.doi.org/10.47252/teniat.v9i1.387.

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Abstrak Hang Tuah (1956) merupakan salah satu filem adaptasi Melayu yang terkenal dalam sejarah perfileman tanah air. Filem ini dikatakan cuba mengangkat karya kesusasteraan Melayu klasik melalui Hikayat Hang Tuah dan Sejarah Melayu. Memandangkan filem ini bersifat adaptasi, maka sering menjadi perhatian dalam kalangan sarjana. Antara aspek yang sering menjadi daya tarikan mereka adalah soal kesetiaan dalam aspek naratif seperti plot, lakonan, gaya bahasa, latar dan tema. Namun demikian, artikel ini hadir dengan melihat kepada aspek lain iaitu stailistik yang mana merupakan salah satu elemen p

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Desser, David. "Ozu and the Poetics of Cinema.By David Bordwell. Princeton: Princeton University Press, 1988. x, 406 pp. $70.00(cloth); $25.00(paper)." Journal of Asian Studies 48, no. 2 (1989): 383–84. http://dx.doi.org/10.2307/2057418.

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Rist, Peter. "BORDWELL, David. Making Meaning: Inference and Rhetoric in the Interpretation of Cinema. Cambridge, Massachusetts : Havard University Press, 1989. xvi + 334 p." Cinémas: Revue d'études cinématographiques 1, no. 1-2 (1990): 164. http://dx.doi.org/10.7202/1000999ar.

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Felix, José Carlos, and Felipe Santos Silva. "A exaustiva fórmula reencenada: ambiguidade no corpo do texto e das personagens de Tarântula de Thierry Jonquet e A pele que habito de Pedro Almodóvar." Revista Letras Raras 6, no. 3 (2017): 135–49. http://dx.doi.org/10.35572/rlr.v6i3.817.

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Este trabalho tem como objetivo analisar o romance Tarântula (Mygale, 1984), de Thierry Jonquet e a adaptação fílmica de Pedro Almodóvar intitulada A pele que habito [La piel que habito, Espanha, 2011]. Analisaremos de que modo a relação de amor e ódio pelo corpo refletida por Adorno e Horkheimer (2006) circunscreve as personagens do romance e, em parte, na adaptação fílmica. Ademais, investigaremos no filme como é construída uma estética almodoviana através dos elementos formais, temáticos e mise en abyme. Por fim, serão cotejados os objetos com foco no desfecho destinado às personagens, sobr

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