Submissions

Author Guidelines

Declaration of originality

Articles must be original and unpublished and not be pending acceptance in any other journal.

Idiom

The articles will be written in Spanish. In exceptional circumstances, and after consulting the Editorial Board of the journal, articles in English will be accepted.

Summary and keywords

They will precede the body of the article and must be included in Spanish and English. Each abstract may not exceed 800 characters with spaces, and the number of keywords must comprise a minimum of 4 and a maximum of 8.

Personal information

The first page should include the name, surname (s), title of the article (in Spanish and English), institutional affiliation of the author, email and ORCID code. All these data will be in Perpetual 9 font, single spaced and centered. This data will be removed to ensure anonymity during the peer review process.

Format and typography

Articles will be sent in .doc or .docx (Microsoft Word) format. The margins (left and right, top and bottom) will be symmetrical and will be 3 cm. The font used will be Perpetual 9, citations with a length greater than three lines will go to 8, without quotes and indented at 1 cm., And footnotes to 8. The line spacing will be, in all cases, single and there will be no extra spacing between paragraphs. The text will be justified.

Low quotation marks "" will be used for textual citations and high quotes for other uses; In the event that two types of quotation marks have to be used (quotation within quotation), the second option will use the highs "" "".

In the case of abbreviations, the uses admitted by philological practice will be maintained: p. ex. (for example), p. (pages. P. (no page), yes. F. (undated), sigs. (following), ed. (editor), coord. (coordinator), trans. (translator), vid. (see), v. (verse), etc.

The footnotes, ordered numerically, will be reserved for explanatory paragraphs that are considered essential because they add information necessary for a better understanding of the body of the text. As far as possible (and unless it is a state of the art), avoid its use for digressions and cumulative and non-explanatory bibliographic extensions.

The epigraphs will be numbered, in capitals and in bold (without a full stop). If there are subheadings, they will be round and bold: 1. First level / 1.1. Second level

Images subject to copyright may not be included (unless the author / contributor provides the necessary permissions), except for captures of film stills, which are contemplated in the right of appointment, as well as fragments of literary texts; In this case, the captures (always justified by the argumentation of the article, not merely decorative) will be placed before the bibliography, under the caption Images, and reference will be made to them by means of the indication (photo. 1, 2 .. .). The maximum number of movie captures will be five, and they will be attached separately in .jpg format (with sufficient quality for optimal viewing).

Extension

Articles will have a minimum of 25,000 characters with spaces and may not exceed (except in exceptional circumstances and after consulting the Editorial Board of the magazine) the 60,000 characters with spaces, including text boxes (if any) and footnotes.

Citations and bibliographic references

The citations will follow the sequence (in parentheses) Author, year: page:

The supposed “fidelity” that the cinema owes to literature is not an adequate criterion in this field of study because “a“ faithful ”film is seen as not very creative, but a“ not faithful ”film is a shameful betrayal of the original”, so that "it seems as if the adapter could never win" (Stam, 2014: 31).

If the name of the author is advanced, just indicate the year and page:

The supposed “fidelity” that cinema owes to literature is not an adequate criterion in this field of study because, according to Stam, “a“ faithful ”film is seen as not very creative, but a“ not faithful ”film is a shameful betrayal to the original ”, so“ it seems as if the adapter could never win ”(2014: 31).

Citations greater than three lines will be indented (1 cm.), They will not be enclosed in quotation marks, they will be placed with a size of 8 points and a space before and after will be left:

As Peña Ardid indicates,

This situation, in fact, weighed down not a few studies of a comparative nature, which frequently contributed to establishing hierarchies and rivalries between film and literary art, since they were applied to the search for expressive limits - more apparent than real - and to define what that each artistic system could or could not “mean”, the cinema being far below literature, when not under its tutelage (2009: 21).

Bibliographic references will go in a final section, called Works Cited, and will be ordered alphabetically (in the event that the author has several works published in the same year, they will be differentiated using the letters of the alphabet in lower case after the year Publication: 2001a, 2001b ...). Films will not be consigned in this final bibliography.

This will be the format according to the type of document that is being cited:

Books

Sánchez Noriega, José Luis (2000), From literature to cinema. Theory and analysis of adaptation, Barcelona, ??Paidós.

If you want to specify the translator, you will follow this model:

Stam, Robert (2014), Theory and practice of adaptation, trans. by L. Zavala, Mexico, UNAM.

Editions of literary texts

Cervantes, Miguel de (2001), Exemplary Novels, ed. by J. García López, Barcelona, ??Criticism.

Chapters of the book

Herrera Moreno, José Manuel (2018), «The popular reception of Turkish passion (Antonio Gala / Vicente Aranda)», in R. Malpartida Tirado (coord.), Reception and canon of Spanish literature in cinema, Madrid, Synthesis , P. 81-92.

If there are two authors, this model will be followed:

Becerra Suárez, Carmen and Susana Pérez Pico (2010), «The translation of psychic intimacy to the screen», in J. A. Pérez Bowie (ed.), Film rewrites: new territories of adaptation, University of Salamanca, pp. 143-158.

If there are two editors or coordinators, this model will be followed:

Trecca, Simone (2015), «False friends in the film adaptation of the dramatic text: the case of dialogue», in J. A. Pérez Bowie and P. J. Pardo García (eds.), Audiovisual transcripts, Madrid, Sial Pigmalión, pp. 157-169.

If there are more than two editors or coordinators, this model will be followed (with the indication et al.):

Guarinos, Virginia (2010), «The theater on TVE during the Transition (1975-1982). A panorama with brake and reverse gear ”, in A. Ansón et al. (eds.), Television and Literature in the Spain of the Transition (1973-1982), Zaragoza, Institución Fernando el Católico / Diputación, pp. 97-118.

Articles in magazines

Zecchi, Barbara (2003), «Lullaby: from paper to celluloid», Readings: Images. Revista de poetica del cine, 2, pp. 423-437.

If there is more than one issue per year in the journal, it will be specified as follows:

Pérez Bowie, José Antonio (2001), «Theater in verse and cinema: a conflictive relationship», Annals of contemporary Spanish literature, 26/1, pp. 317-335.

Articles available online

The same model as for articles in journals will be followed, with the following addition in brackets (which will be valid for any reference to the bibliography available online):

Marsé, Juan (1994), «The exquisite palate of the goat», El País, 6.403, s. P. [Online: https://elpais.com/diario/1994/11/13/cultura/784681209_850215.html. Consultation date: 05/24/2015].

Doctoral theses and other academic documents

Carmona, Alba (2018), The golden comedy on the silver canvas: analysis of the reception of the new comedy from its film rewritings, Autonomous University of Barcelona [Doctoral Thesis].

On the use of generative artificial intelligence (AI)

• Writing any part of an article using a generative AI/LLM tool, including abstract generation or literature review, will not be permitted.
• Generating or reporting results using a generative AI/LLM tool is not permitted, and reporting statistics in text using a generative AI/LLM tool is not permitted.
• Editing an article using a generative AI/LLM tool to improve its language and readability would be permitted, as this mirrors standard tools already employed to improve spelling and grammar, and uses existing material created by the author, rather than generate completely new content, while the author(s) remains responsible for the original work.
• Submission and publication of images created by artificial intelligence tools or large-scale generative models is not permitted.

Self-archiving policy by the author 

This journal allows and encourages authors to publish articles submitted to the journal on their personal websites or in institutional repositories, both before and after their publication in this journal, as long as they provide bibliographic information that proves, if applicable, your post on it.