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Abstract
Esta aproximación al espacio narrativo de Carlos Fuentes y su transfiguración al lenguaje fotogramático, no intenta indagar sobre lo que puede haber de cine en su producción a la manera de los postulados formalistas, según las propuestas teóricas de Einsenstein, ni tampoco escudriñar su puesta-en-escena en consonancia con la decoupage technique, sino que más bien, va dirigida hacia el ámbito de su organización sintagmática y cómo se articulan el cine y la literatura.
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