Tracing the origins of cinematic devices of literature in the so call perceptual revolution of 1905—1915 by Donald M. Lowe, as well as in Avant Garde movements, the author of this article explores film making techniques in the work of some contemporary Spanish American novelists. Along with stream of consciousness technique and its cinematic devices examined by Robert Humphrey, the author highlights semantic, syntactic or pragmatic montage as the basic technique for cinematic effects in literature.
Key words: Spanish American novelists, cinematic effects, montage.
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V. 3 (2008)
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