looks at Aurora’s
body also demonstrates this point
: “Su expresión genuina se había disipado
de la cara, y vagaba por todo su cuerpo, como un ave fatigada que no encuentra dónde posarse:
a veces, insinuada en una rodilla; a veces, temblando en un pecho” (
p.41). The reader isshown, as if it were being filmed
, how the camera would represent Antonio’s gaze travelling
over Aurora: only one part is described at a time as if it were progressing through the differentframes on screen.
This is seen in “Hora muerta” as well, when the reader’s attention is brought to Anita’s
socks, demonstrating a close-up, focusing intensely on one part of the image rather than the
whole picture: “Anita –
saltando a la comba. Calcetines a rayas: ondas
p.76). Another example
is found in “Polar, estrella,” when the protagonist
looks at the negatives of the film
: “el rostro de Polar en gran plano,
insignificantes en la escala micrométrica de su sonrisa” (
pp. 88-89). This creates theimpression that the face of Polar is filling the whole screen, giving the reader the notion of acinematic shot, rather than being written from the point of view of a character or a narrator.The idea of drawing attention to the framing of images in the texts creates a very strongconnection to the cinema as it makes the reader think of the story on screen. Many differentobjects are used throughout the three texts to create the feeling of the frame of a shot, forinstance, the depiction of the landscape at
the start of “Polar, estrella,”
where the window is
used as an outline: “Pasaban por la cristalera nubes p
eregrinas, desdoblándose con lentitud de
p.87). The description
of Polar when she is called a “sirena en la orilla delespejo” (
p.91), uses the mirror as a frame for the shot and, in “Cazador en el alba,” it is
again a window that c
reates the outline of the scene: “Dentro del marco de la ventana se
veía sucabeza, planeta fiel alrededor de
la bombilla” (
p.37). These constant reminders of thescreen create the overall impression that the stories are filmed rather than just written.
C.G Morris states that Ayala, at the start of “Hora muerta,” is: “
Emulating the techniqueof the panning, panoramic shot, he picked out the salient physical features of the city as it spunlike a globe before his bewildered gaze.
The section, as described above, reads very much
like the transcription of a film sequence: “Estación.
Pista. Fábrica. Velódromo. Universidad.
Circo. Gimnasio. Cine” (
p.74). The reader finds themself envisaging
the idea of theprotagonist spinning and, seen from the point of view of that character, or the camera that
This Loving Darkness:. The Cinema and Spanish Writers 1920-1936
. University of Hull / OUP, 1980,p.147. All future references to the book - hereafter abbreviated to
- will be to this edition, with the correspondingpage number indicated in brackets.