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• Intertextual interferences between Lovecraft, Sartre, and Cronenberg

  Alfonso Freire-Sánchez, Maria Fitó-Carreras, Montserrat Vidal-Mestre

  10-23

• Accommodation of Data Requirements Analysis to the Philological Context of the CIRCE Proje

  Arturo Mora-Rioja

  71-82

• Adapting Diana de Belflor: The Dog in the Manger’s Soviet Adventures

  Veronika Ryjik

  31-54

• Análisis ideológico de la adaptación: el mundo de posguerra de Pa negre (2010), de Agustí Villaronga

  Maria Ayete Gil

  98-133

• Comparative Analysis of He Said Yes/ He Said No, by Bertolt Brecht and Dogville, by Lars Von Trier. Breaking of the Aristotelian Precepts and Eastern Theatre Influence

  María Hernández Rodríguez

  89-116

• Conversations between William Faulkner, Murakami Haruki and Lee Chang-dong: Burning

  Réka Havassy

  29-48

• Cronenberg Adapts (Us to) McLuhan: Watching "Videodrome", Reading "Understanding Media"

  Leonid Bilmes

  24-49

• Don Quixote in China: don Quixote's cinematic journey through jianghu

  Xinjie Ma, Sergio Jesús Villén Higueras

  7-28

• Ekphrasis and Memory in El lápiz del carpintero (1998) by Manuel Rivas and Its Adaptation by Antón Reixa (2003)

  Alain Iñiguez

  134-157

• From the Paris Uprising to the Samurai Rebellion: The Cultural Transformation of Les Misérables in Japanese Silent Cinema

  Alex Pinar

  49-64

• Imagining Identity: From Molière’s comedy to Howard Hawks and Frank Capra

  Rebeca Romero Escrivá, Javier Alcoriza Vento

  11-30

• Introduction to the monograph Filmic-literary dialogues between East and West Coord. by Alex Pinar

  Alex Pinar

  5-6

• La voz dormida, from Literature to Cinema: representation and memory of the female prison experience

  Javier Sánchez Zapatero

  59-77

• Making flesh the polluting word: David Cronenberg and The Naked Lunch by William Burroughs

  Francisco Javier Fernández Pérez

  64-87

• Masks and Shadows. The construction of the self in A Dangerous Method (2011)

  Guillermo González Hernández

  127-153

• Multimediality, Translation and Censorship. Conflicted Gender Constructs in Estudio Uno's (RTVE) Early-Modern Audiovisual Theatre Adaptions

  Diego Ernesto Parra Sánchez, Elena Castellano Ortolá

  83-95

• On the Spanish Civil War and nonsense. The film adaptations of La higuera, Noche de difuntos del 38 y On est toujours trop bon avec les femmes

  Álvaro López Fernández

  158-178

• Ontology of Impact: A History of the Future in Crash (David Cronenberg, 1996)

  Iván Gómez García

  88-112

• Postwar, Violence and Queer Narrative Focalisation in El mar (Blai Bonet / Agustí Villaronga)

  Mario de la Torre-Espinosa

  78-97

• Richard III: Comparative Analysis of the Television Version by Carmelo Bene and La Rose et la Hache by Georges Lavaudant

  Daniel Moisés Ambrona Carrasco

  55-69

• Spider: The hallucination as a spring of reality

  Oriol Alonso Cano

  113-126

• The Fly (1986): Science and Body Horror in David Cronenberg’s Cinema

  Xavier Brito Alvarado, Ana Sedeño-Valdellos

  50-63

• The printed letter and the sea. The recovery of the teacher Benaiges' promise

  Marta Martín Núñez

  179-195

• The Spanish post-Civil War period as a melodramatic setting and a space of female representation in the television adaptations Lo que escondían sus ojos (Telecinco, 2016) and La sonata del silencio (TVE1, 2016)

  María José Higueras-Ruiz, Santiago Lomas Martínez

  196-216

• The Ventas Prison in Madrid. The Voices of Women Inmates in Literary and Filmic Representations of (Post)Memory

  Verónica Ripoll León

  36-58