Conde en la pantalla: ¿Ganó o perdió esencia la obra de Padura al ser adaptada? Translated title: Conde on the Screen: How Far did Padura's Work Gain or Lose Essence in Adaptation? – ScienceOpen
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      Conde en la pantalla: ¿Ganó o perdió esencia la obra de Padura al ser adaptada? Translated title: Conde on the Screen: How Far did Padura's Work Gain or Lose Essence in Adaptation?

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      research-article

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            Author and article information

            Journal
            10.2307/j50005551
            intejcubastud
            International Journal of Cuban Studies
            Pluto Journals
            1756-3461
            1756-347X
            1 July 2019
            : 11
            : 1 ( doiID: 10.13169/intejcubastud.11.issue-1 )
            : 102-114
            Affiliations
            Universidad de La Habana, Cuba
            Author notes
            [1]

            Yohannia Pérez Valdés es Profesora de la Facultad de Artes y Letras y editora en la Dirección de publicaciones académicas, sello editorial de la Universidad de La Habana.

            Article
            intejcubastud.11.1.0102
            10.13169/intejcubastud.11.1.0102
            3e65cbc5-b6df-4206-ae09-fac1d962f9e7
            © International Institute for the Study of Cuba

            All content is freely available without charge to users or their institutions. Users are allowed to read, download, copy, distribute, print, search, or link to the full texts of the articles in this journal without asking prior permission of the publisher or the author. Articles published in the journal are distributed under a http://creativecommons.org/licenses/by/4.0/.

            History
            Custom metadata
            spa

            Literary studies,Arts,Social & Behavioral Sciences,History,Cultural studies,Economics
            adaptation,Padura,Vientos de cuaresma,adaptación,literatura detectivesca,detective literature

            Bibliografía

            1. Balázs, Bela (1980) La estética del filme. La Habana, Cuba: Editorial Arte y Literatura.

            2. Barthes, Roland (1993) La aventura semiológica. Barcelona: Ediciones Paidós.

            3. Caballero, Rufo (2000) ‘Las amistades peligrosas entre el cine y la literatura’, in Rufo Caballero (ed.) Rufo Rumores del cómplice. Cinco maneras de ser crítico de cine. La Habana, Cuba: Editorial Letras Cubanas, pp. 61-190.

            4. Caballero, Rufo (2008) Lágrimas en la lluvia. La Habana, Cuba: Ediciones ICAIC: Editorial Letras Cubanas.

            5. Chanan, Michael (2004) Cuban Cinema. Minneapolis, MN: University of Minnesota Press.

            6. Lotman, Yuri (1979) Estética y semiótica del cine. Barcelona: Editorial Gustavo Gil.

            7. Marcos, Natalia. (2017) ‘El “noir caribeño” de “Cuatro estaciones en La Habana”'. Madrid: El País.

            8. Martin, Marcel (2002) El lenguaje del cine. Barcelona: Editorial Gedisa.

            9. Padura Fuentes, Leonardo (2002) Modernidad, posmodernidad y novela policial. La Habana, Cuba: Ediciones Unión.

            10. Padura Fuentes, Leonardo (2015) Vientos de cuaresma. Barcelona: Tusquets Editores.

            11. Padura Fuentes, Leonardo y Laurent Cantet (2016) Regreso a Ítaca. Barcelona: Tusquets Editores.

            12. Padura Fuentes, Leonardo y Lucía López Coll (2014) Vientos de cuaresma. texto inédito.

            13. Padura Fuentes, Leonardo, Lucía López Coll y Félix Viscarret (2015) Vientos de cuaresma. texto inédito.

            14. Pereda, Olga (2016) ‘“Vientos de La Habana”, género policial caribeño'. Aragón: El Periódico.

            15. Stam, Robert (2005) ‘Introduction: The Theory and Practice of Adaptation’, in Robert Stam and Alessandra Raengo (eds) Literature and Film: A Guide to the Theory and Practice of Film Adaptation. Oxford: Blackwell Publishing, pp. 1-52.

            16. Stam, Robert, Robert Burgoyne y Sandy Flitterman-Lewis (1999) Nuevos conceptos de la teoría del cine: Estructuralismo, semiótica, narratología, psicoanálisis, intertextualidad. Barcelona: Ediciones Paidós.

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