In present essay I examine the image of the crowd in Vicente Blasco Ibaez's 1916 film adaptation of his novel Sangre y arena (1908) and how the writer's foray into the art of filmmaking constitutes an attempt to harness the popular appeal of film as an instrument of democracy.
I explore the cinematisation of the novel's critique of the myths of fame and celebrity that sustained the bullfighter as a popular hero, and how film and novel eventually reveal him to be a product of the degenerate desires of a crowd of fans. I offer a detailed analysis of how Blasco uses
the visualisation of the crowd on-screen to make the case that he does so not only to underscore his moralising message, but also as a mechanism to force the potentially unruly crowd of spectators, gathered in the cinema, to confront and reject a negative image of itself.
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.