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Academic literature on the topic 'Rafael Azcona'
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Journal articles on the topic "Rafael Azcona"
Ríos Carratalá, Juan Antonio. "El paraíso ibicenco y Rafael Azcona." Anales de Literatura Española, no. 21 (December 31, 2009): 161. http://dx.doi.org/10.14198/aleua.2009.21.08.
Full textGutiérrez, Julia Sabina. "Screenwriter Rafael Azcona, writing of his times." Journal of Screenwriting 4, no. 2 (February 1, 2013): 179–97. http://dx.doi.org/10.1386/josc.4.2.179_1.
Full textRíos Carratalá, Juan Antonio. "Versos a medianoche en el Café Varela." Anales de Literatura Española, no. 20 (December 15, 2008): 259. http://dx.doi.org/10.14198/aleua.2008.20.13.
Full textGarcía-Aguilar, Alberto. "«El cochecito» de Rafael Azcona: el guion cinematográfico como obra literaria." Latente. Revista de Historia y Estética audiovisual, no. 16 (2018): 83–95. http://dx.doi.org/10.25145/j.latente.2018.16.003.
Full textAguilar Alvear, Santiago. "José Santugini: el humorista seducido por la señorita cinematografía." Anales de Literatura Española, no. 19 (December 15, 2007): 11. http://dx.doi.org/10.14198/aleua.2007.19.01.
Full textSeoane Riveira, José. "Reescritura cinematográfica de una zarzuela en clave esperpéntica: “La corte de Faraón”, de José Luis García Sánchez y Rafael Azcona." Signa: Revista de la Asociación Española de Semiótica 28 (June 28, 2019): 1383. http://dx.doi.org/10.5944/signa.vol28.2019.25123.
Full textRodríguez García, Rita. "Catalogación y análisis de la colección El Club de la Sonrisa (1955-1960), de la editorial Taurus." Anales de Literatura Española, no. 33 (June 1, 2020): 183. http://dx.doi.org/10.14198/aleua.2020.33.10.
Full textZielińska, Dominika. "Kino (anty)narodowe? „Uczta wigilijna” Luisa Garcíi Berlangi." Kwartalnik Filmowy, no. 116 (January 13, 2022): 103–20. http://dx.doi.org/10.36744/kf.930.
Full textCorrêa, Mirele, Jessiel Odilon Junglos, and Gicele Maria Cervi. "Políticas Educacionais e Proesde: Uma experiência de formação docente no Estado de Santa Catarina (Educational Policies and Proesde: An experience of teacher training in the State of Santa Catarina)." Revista Eletrônica de Educação 14 (September 9, 2020): 3924129. http://dx.doi.org/10.14244/198271993924.
Full textCañas Pelayo, Marcos Rafael. "¡No lo haré más!: la sociedad española en El verdugo de Berlanga." Fotocinema. Revista científica de cine y fotografía, no. 9 (September 24, 2014). http://dx.doi.org/10.24310/fotocinema.2014.v0i9.5965.
Full textDissertations / Theses on the topic "Rafael Azcona"
Gutierrez, Julia Sabina. "L'espace dans le travail de Rafael Azcona, scénariste." Thesis, Paris 3, 2013. http://www.theses.fr/2013PA030110.
Full textThis study analyses the narrative dimension of screenplays, focusing primarily on the work of Rafael Azcona(1926-2008), comedy writer for cinema and television. Due to the fact that he created and developed on the screen apersonal universe that is easily identifiable by the audience, in Spain at least, this screenwriter is considered to be atrue auteur.Our primary objective is to understand how Rafael Azcona’s characteristic style could survive even when histext dissolved little by little in the entire process of constructing an audio-visual work. The analytic work is madeeven more delicate by the fact that we must take into account his collaboration with filmmakers that had their ownvery personal universes, such as Marco Ferreri, Carlos Saura, or Luis Garcia Berlanga.The main difficulty encountered with regard to Rafael Azcona’s work was finding out which was the originalscreenplay of the film. The one written before the start of filming? The one modified during filming? The onepublished once the film was shown in cinemas? The one liked by the audience? Which brought us to a fundamentalquestion: does the screenplay belong to the readers or to those who watch? It is, in fact, important to remember theweight of socio-economic aspects in the film industry when trying to understand screenwriting.Given that a screenplay, due to its structure and form, doesn't generally wish for a reader, but for a camera, tobe filmed, we have decided to look at the scenario from the point of view of the spatial construction of a story, thatis, an element usually attributed to image architects, such as the director and the editor. The importance given byAzcona’s work to the locations where the story takes place, the special relationship between character and space, andthe ubiquitous theme of the search for intimacy invite us to explore in depth the role played by space in theconstruction of the story.In this study, we try to show how the screenwriter Rafael Azcona, who knew that the screenplay wasn’twritten to be read, but to be seen later on a screen, put great effort into describing and constructing in great detailthe most cinematic of characteristics: space, that reality which cinema can never leave
Rivero-Zaritzky, Yosalida C. "El Guion Cinematografico y sus Pre-textos Literarios: La Obra de Rafael Azcona." Diss., The University of Arizona, 2006. http://hdl.handle.net/10150/194465.
Full textAllanic, Mathilde. "L'itinéraire de Rafael Azcona : une intertextualité créative : des textes littéraires aux textes cinématographiques." Tours, 2007. http://www.theses.fr/2007TOUR2029.
Full textThis investigation work is about the creation itinerary of the Spanish scriptwriter Rafael Azcona (1926- ), that covers fifty years during which he brought forth an extensive work: poems, satirical articles, novels and more than a hundred scripts. He is an outstanding figure of the artistic scenery in Spain due to his collaboration with the greatest film directors for the most important movies in history of Spanish cinema. The point of view we adopted in this thesis is to enlighten on the influence of the reading in his way of writing, and to show how the intertextuality is achieved in his texts in a voluntary or unconscious manner. Thank to this approach we could observe a new relation between literature and cinema, richer than the usual one, that is the literary adaptation on screen
Books on the topic "Rafael Azcona"
Sánchez, Bernardo José Feijóo. Rafael Azcona, hablar el guión. Madrid: Cátedra, 2006.
Find full textAzofra, Pedro Ma. La tauromaquia según Rafael Azcona. Logroño: Editorial Ochoa, 2006.
Find full textSánchez, Bernardo José Feijóo. Rafael Azcona, hablar el guión. Madrid: Cátedra, 2006.
Find full textLa obra literaria de Rafael Azcona. Alicante: Universidad de Alicante, Servicio de Publicaciones, 2009.
Find full textAguilar, Santiago. Rafael Azcona en el diario Pueblo, 1954- 1956. Logroño: Instituto de Estudios Riojanos, 2014.
Find full textAzcona, Rafael. La lengua de las mariposas: Guión de Rafael Azcona. Madrid: Ocho y Medio, 1999.
Find full textAlberto, Cabezón García Luis, ed. Rafael Azcona, con perdón. Logroño: Gobierno de La Rioja, Instituto de Estudios Riojanos, 1997.
Find full textRafael Azcona: Hablar El Guion / Talk the Script (Signo E Imagen / Sign and Image). Catedra, 2006.
Find full textLa niña de tus ojos: basado en el guion de Rafael Azcona, David Trueba, Carlos López y Manuel ángel Egea. Scholastic, 2011.
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