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Mourning and melodrama in Para que no me olvides (2005) by Patricia Ferreira
Isolina Ballesteros

process through the use of different cinematographic genres, mainly social and anthropological documentary and melodrama. Within this trend, it is important to acknowledge the pioneering documentaries Les fosses del silenci ( The Graves of Silence ) and Els nens perduts del franquisme ( Franco’s Lost Children ) (2003) by Montse Armengou and El cielo gira ( The Sky Spins , 2004) by Mercedes Álvarez

in Hispanic and Lusophone women filmmakers
Darryl F. Zanuck’s Les Misérables (1935)
Guerric DeBona

-historical context and a fidelity to Hugo’s political discourse, whereas American versions offer a more voluntarist – and optimistic version – of social progress. The French adaptations focus on understanding the harsh reality of the human condition in the nineteenth century, whereas the American ones show the narrative possibilities of the novel and their potential exploitation through the hybridization of cinematographic genres.11 This hybridization’ of the novel is precisely where Hugo could be useful to Hollywood during the Great Depression. Therefore, when it came to

in French literature on screen
Abstract only
James S. Williams

great cinematographic genres, from the early avant-garde with Le Sang d’un poète (1930–32) to fairytale fantasy with La Belle et la bête (1946), historical melodrama with L’Aigle à deux têtes (1948), domestic bourgeois drama and vaudeville with Les Parents terribles (1948) (regarded by Cocteau himself as his greatest success), detective thriller and mystery with Orphée (1950), to finally the

in Jean Cocteau