Film criticism and/or narrative? Horacio Quiroga's early embrace of cinema
Abstract:Raised on turn-of-the-century modernismo and spurned by the ultraist vanguard, Horacio Quiroga was the first River Plate writer to integrate cinematic elements into his narrative. He quickly embraced silent film, championing its artistic potential in four Hollywood-themed stories and in more than sixty movie columns between the years 1918 and 1931. The ‘non-real’ of cinema afforded him a twist to the formula of fever, intoxication and insanity, all used with great success in his ‘jungle’ stories. Film's inherent privileging of gestures and glances, not to mention tremendous plasticity in terms of focalization, provided a perfect foil to the Uruguayan's fiction. My article takes up several Quiroga movie reviews and one of his filmic stories, ‘Spectre’. This representative sampling elucidates a mirror relation between literature and criticism, and confirms that River Plate writer's precocious appreciation of silent film.
Document Type: Research Article
Affiliations: University of Miami.
Publication date: April 1, 2005
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- In 2013, Studies in Hispanic Cinemas, is changing its name to Studies in Spanish & Latin American Cinemas to reflect more accurately its content, which is dedicated to the study of Spanish-speaking and Latin American cinemas, including the cinemas of Spain and Spanish-speaking South, Central and North America including the Caribbean, as well as Brazil.
Our target readership includes students, teachers and scholars. The journal is written in English to maximize the opportunities for contact between academic disciplines such as Media, Film Studies, Latin American and Post-colonial Studies, as well as Hispanic Studies, thereby encouraging an inter- cultural and inter- disciplinary focus.
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