Abstract

Mitl Valdez's film Los confines (1987) is an adaptation of several works of fiction by the Mexican author Juan Rulfo. The director chose to adapt two short stories ("Talpa" and "¡Diles que no me maten!") and an episode from the author's first novel, Pedro Páramo. Valdez's intent was to "capturar el sentido" of the Jaliscan author or, in other words, to remain faithful to certain elements of his writing while adjusting them to the filmic medium. The musical score of Los confines is the method of appropriation that this study endeavors to investigate, since it shares common themes, metaphors, and imagery with the source texts. The musical language of Los confines not only communicates meaning within the film, but echoes elements of Rulfo's writing as well. Musical motifs in the score evoke concepts and symbols that form part of the writer's fictive universe and illustrate how Valdez finds "un equivalente en la expresión cinematográfica" for Rulfian material (qtd. in Pelayo).

Degree

MA

College and Department

Humanities; Spanish and Portuguese

Rights

http://lib.byu.edu/about/copyright/

Date Submitted

2013-12-18

Document Type

Thesis

Handle

http://hdl.lib.byu.edu/1877/etd6717

Keywords

El Llano en llamas, Pedro Páramo, film music, Juan Rulfo adaptations, Los confines, Mitl Valdez

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