<?xml version="1.0" encoding="ISO-8859-1"?><article xmlns:mml="http://www.w3.org/1998/Math/MathML" xmlns:xlink="http://www.w3.org/1999/xlink" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance">
<front>
<journal-meta>
<journal-id>1794-5887</journal-id>
<journal-title><![CDATA[Co-herencia]]></journal-title>
<abbrev-journal-title><![CDATA[Co-herencia]]></abbrev-journal-title>
<issn>1794-5887</issn>
<publisher>
<publisher-name><![CDATA[Departamento de Humanidades de la Universidad EAFIT]]></publisher-name>
</publisher>
</journal-meta>
<article-meta>
<article-id>S1794-58872020000200227</article-id>
<article-id pub-id-type="doi">10.17230/co-herencia.17.33.8</article-id>
<title-group>
<article-title xml:lang="es"><![CDATA[Lecturas cinematográficas de Cinco metros de poemas: un acercamiento intermedial a la obra de Carlos Oquendo de Amat]]></article-title>
<article-title xml:lang="en"><![CDATA[Cinematographic Interpretations of Cinco metros de poemas: An Intermedia Approach on the Work of Carlos Oquendo de Amat]]></article-title>
</title-group>
<contrib-group>
<contrib contrib-type="author">
<name>
<surname><![CDATA[Guichot-Muñoz]]></surname>
<given-names><![CDATA[Elena]]></given-names>
</name>
<xref ref-type="aff" rid="Aff"/>
</contrib>
</contrib-group>
<aff id="Af1">
<institution><![CDATA[,Universidad de Sevilla  ]]></institution>
<addr-line><![CDATA[ ]]></addr-line>
<country>Spain</country>
</aff>
<pub-date pub-type="pub">
<day>00</day>
<month>12</month>
<year>2020</year>
</pub-date>
<pub-date pub-type="epub">
<day>00</day>
<month>12</month>
<year>2020</year>
</pub-date>
<volume>17</volume>
<numero>33</numero>
<fpage>227</fpage>
<lpage>247</lpage>
<copyright-statement/>
<copyright-year/>
<self-uri xlink:href="http://www.scielo.org.co/scielo.php?script=sci_arttext&amp;pid=S1794-58872020000200227&amp;lng=en&amp;nrm=iso"></self-uri><self-uri xlink:href="http://www.scielo.org.co/scielo.php?script=sci_abstract&amp;pid=S1794-58872020000200227&amp;lng=en&amp;nrm=iso"></self-uri><self-uri xlink:href="http://www.scielo.org.co/scielo.php?script=sci_pdf&amp;pid=S1794-58872020000200227&amp;lng=en&amp;nrm=iso"></self-uri><abstract abstract-type="short" xml:lang="es"><p><![CDATA[Resumen La investigación humanística adquiere un nuevo matiz en los análisis que confrontan lenguajes de distintas disciplinas artísticas. Por esta razón, este artículo se propone un acercamiento analítico intermedial a la obra Cinco metros de poemas de Carlos Oquendo de Amat, par-tiendo del hallazgo en su poesía de estrategias fílmicas extraídas de la semiología del discurso cinematográfico. Este proceder ana-lítico arroja luz sobre el complejo virtuosismo de su obra, apli-cando las teorías del desplazamiento de la cámara y del montaje a sus poemas. De ahí, se observa cómo el autor logra combinar las Estéticas de Jean Epstein, las técnicas de un film abstracto, con una hermenéutica profunda sobre el devenir de los tiempos. Con un arte similar al montaje armónico de la obra de Eisenstein, la obra logra implicar al &#8220;espectador&#8221; intelectual y emocionalmente gracias al complejo ensamblaje de sus cinco metros de poemas.]]></p></abstract>
<abstract abstract-type="short" xml:lang="en"><p><![CDATA[Abstract Humanistic research acquires a new nuance in the analyses that involve languages from different artistic disciplines. Therefore, in this article, an intermedia analytical approach to the work Cinco metros de poemas by Carlos Oquendo de Amat is aimed at, starting from the movie strategies found in his poems, extracted from the semiology of the cinematographic discourse. This analytical point sheds light on the complex virtuosity of his work, applying the theories of camera movement and production in his poems. Thus, it is observed how the author achieves a combination of the Aesthetics of Jean Epstein and the techniques of an abstract movie, with deep hermeneutics about the evolution of time. With artistry similar to the harmonic production in the work of Eisenstein, this work is successful in involving the &#8220;spectator&#8221; intellectually and emotionally thanks to the complex staging of its five meters of poems.]]></p></abstract>
<kwd-group>
<kwd lng="es"><![CDATA[Oquendo de Amat]]></kwd>
<kwd lng="es"><![CDATA[poesía]]></kwd>
<kwd lng="es"><![CDATA[cine]]></kwd>
<kwd lng="es"><![CDATA[intermedialidad]]></kwd>
<kwd lng="es"><![CDATA[literatura latinoamericana]]></kwd>
<kwd lng="es"><![CDATA[montaje.]]></kwd>
<kwd lng="en"><![CDATA[Oquendo de Amat]]></kwd>
<kwd lng="en"><![CDATA[poetry]]></kwd>
<kwd lng="en"><![CDATA[movies]]></kwd>
<kwd lng="en"><![CDATA[intermedia]]></kwd>
<kwd lng="en"><![CDATA[Latin American literature]]></kwd>
<kwd lng="en"><![CDATA[montage.]]></kwd>
</kwd-group>
</article-meta>
</front><back>
<ref-list>
<ref id="B1">
<nlm-citation citation-type="">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Arteta]]></surname>
<given-names><![CDATA[A. C]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Carlos Oquendo de Amat o el socialismo en tono menor]]></article-title>
<source><![CDATA[Revista de Crítica Literaria Latinoamericana]]></source>
<year>2007</year>
<volume>33</volume>
<numero>66</numero>
<issue>66</issue>
</nlm-citation>
</ref>
<ref id="B2">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Aumont]]></surname>
<given-names><![CDATA[J]]></given-names>
</name>
</person-group>
<source><![CDATA[Las teorías de los cineastas]]></source>
<year>2004</year>
<publisher-name><![CDATA[Paidós]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B3">
<nlm-citation citation-type="">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Belli]]></surname>
<given-names><![CDATA[C. G]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Imágenes impresas: &#8220;El libro como objeto estético&#8221;]]></article-title>
<source><![CDATA[5metrosdepoemas.com]]></source>
<year>2013</year>
</nlm-citation>
</ref>
<ref id="B4">
<nlm-citation citation-type="">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Bubnova]]></surname>
<given-names><![CDATA[Tatiana]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Voz, sentido y diálogo en Bajtín]]></article-title>
<source><![CDATA[Acta poética]]></source>
<year>2006</year>
<volume>27</volume>
<numero>1</numero>
<issue>1</issue>
<page-range>97-114</page-range></nlm-citation>
</ref>
<ref id="B5">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Carmona]]></surname>
<given-names><![CDATA[R]]></given-names>
</name>
</person-group>
<source><![CDATA[Cómo se comenta un texto fílmico]]></source>
<year>1991</year>
<publisher-name><![CDATA[Cátedra]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B6">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Casetti]]></surname>
<given-names><![CDATA[F.]]></given-names>
</name>
<name>
<surname><![CDATA[Di Chio]]></surname>
<given-names><![CDATA[F]]></given-names>
</name>
</person-group>
<source><![CDATA[Cómo analizar un film]]></source>
<year>1991</year>
<publisher-name><![CDATA[Planeta]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B7">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Chatman]]></surname>
<given-names><![CDATA[S]]></given-names>
</name>
</person-group>
<source><![CDATA[Historia y discurso: la estructura narrativa en la novela y en el cine]]></source>
<year>1990</year>
<publisher-name><![CDATA[Taurus]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B8">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Cillóniz]]></surname>
<given-names><![CDATA[A]]></given-names>
</name>
</person-group>
<source><![CDATA[Poesía hispanoamericana]]></source>
<year>1989</year>
<publisher-name><![CDATA[Alborada]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B9">
<nlm-citation citation-type="">
<person-group person-group-type="author">
<name>
<surname><![CDATA[De los Ríos]]></surname>
<given-names><![CDATA[V]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Literatura y tecnología en Darío, Oquendo de Amat y Palma]]></article-title>
<source><![CDATA[Romance Notes]]></source>
<year>2007</year>
<volume>48</volume>
<numero>1</numero>
<issue>1</issue>
<page-range>91-9</page-range></nlm-citation>
</ref>
<ref id="B10">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Eisenstein]]></surname>
<given-names><![CDATA[S]]></given-names>
</name>
</person-group>
<source><![CDATA[Film Form Essays in Film Theory]]></source>
<year>1926</year>
<publisher-name><![CDATA[Hartcourt]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B11">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Eisenstein]]></surname>
<given-names><![CDATA[S]]></given-names>
</name>
</person-group>
<source><![CDATA[Cinematismo]]></source>
<year>1972</year>
<publisher-name><![CDATA[Domingo Cortizo Editor]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B12">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Elleström]]></surname>
<given-names><![CDATA[L]]></given-names>
</name>
</person-group>
<source><![CDATA[Media borders, multimodality and intermediality]]></source>
<year>2010</year>
<publisher-name><![CDATA[Springer]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B13">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Englund]]></surname>
<given-names><![CDATA[A]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Intermedial Topography and Metaphorical Interaction]]></article-title>
<person-group person-group-type="editor">
<name>
<surname><![CDATA[Elleström]]></surname>
<given-names><![CDATA[L]]></given-names>
</name>
</person-group>
<source><![CDATA[Media borders, multimodality and intermediality]]></source>
<year>2010</year>
<page-range>69-80</page-range><publisher-name><![CDATA[Springer]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B14">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Epstein]]></surname>
<given-names><![CDATA[J]]></given-names>
</name>
</person-group>
<source><![CDATA[La poesía de hoy. Un nuevo estado de inteligencia]]></source>
<year>1920</year>
<publisher-name><![CDATA[J. Samet]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B15">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Frank]]></surname>
<given-names><![CDATA[J]]></given-names>
</name>
</person-group>
<source><![CDATA[Spatial form in modern literature, the idea of spatial form]]></source>
<year>1991</year>
<publisher-name><![CDATA[Rutgers University]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B16">
<nlm-citation citation-type="">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Gómez de Tejada]]></surname>
<given-names><![CDATA[J]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Carlos Oquendo de Amat: el poema acéntrico como espacio lírico alternativo a la metrópolis moderna]]></article-title>
<source><![CDATA[Tonos Digital]]></source>
<year>2017</year>
<volume>32</volume>
<page-range>1-23</page-range></nlm-citation>
</ref>
<ref id="B17">
<nlm-citation citation-type="">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Gómez]]></surname>
<given-names><![CDATA[N]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[La sombra de Charles Chaplin en César Vallejo]]></article-title>
<source><![CDATA[Espéculo: Revista de Estudios Literarios]]></source>
<year>2008</year>
<volume>39</volume>
</nlm-citation>
</ref>
<ref id="B18">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Hernández Les]]></surname>
<given-names><![CDATA[J. A]]></given-names>
</name>
</person-group>
<source><![CDATA[Cine y literatura: Una metáfora visual]]></source>
<year>2005</year>
<publisher-name><![CDATA[Ediciones JC Clementine]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B19">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Higgins]]></surname>
<given-names><![CDATA[D]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Statement of intermedia]]></article-title>
<source><![CDATA[Décoll/age (décollage) 6]]></source>
<year>1967</year>
<publisher-name><![CDATA[Typos Verlag]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B20">
<nlm-citation citation-type="">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Ibáñez]]></surname>
<given-names><![CDATA[A]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Letras de celuloide: una lectura de 5 metros de poemas de Carlos Oquendo de Amat]]></article-title>
<source><![CDATA[452ºF]]></source>
<year>2017</year>
<volume>17</volume>
<page-range>173-90</page-range></nlm-citation>
</ref>
<ref id="B21">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Illouz]]></surname>
<given-names><![CDATA[E]]></given-names>
</name>
</person-group>
<source><![CDATA[El consumo de la utopía romántica]]></source>
<year>2009</year>
<publisher-name><![CDATA[Katz]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B22">
<nlm-citation citation-type="">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Kristeva]]></surname>
<given-names><![CDATA[J]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Poésie et negativité]]></article-title>
<source><![CDATA[L&#8217;Homme]]></source>
<year>1968</year>
<volume>8</volume>
<numero>2</numero>
<issue>2</issue>
<page-range>36-63</page-range></nlm-citation>
</ref>
<ref id="B23">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Lauer]]></surname>
<given-names><![CDATA[M]]></given-names>
</name>
</person-group>
<source><![CDATA[Musa mecánica. Máquinas y poesía en la vanguardia peruana]]></source>
<year>2004</year>
<publisher-name><![CDATA[Instituto de Estudios Peruanos]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B24">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Meneses]]></surname>
<given-names><![CDATA[C]]></given-names>
</name>
</person-group>
<source><![CDATA[Tránsito de Oquendo de Amat 1905-1936]]></source>
<year>1973</year>
<publisher-name><![CDATA[Inventarios Provisionales]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B25">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Mitry]]></surname>
<given-names><![CDATA[J]]></given-names>
</name>
</person-group>
<source><![CDATA[La semiología en tela de juicio (cine y lenguaje)]]></source>
<year>1990</year>
<publisher-name><![CDATA[Akal]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B26">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Monguió]]></surname>
<given-names><![CDATA[L]]></given-names>
</name>
</person-group>
<source><![CDATA[La poesía postmodernista peruana]]></source>
<year>1954</year>
<publisher-name><![CDATA[University of California Press]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B27">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Monguió]]></surname>
<given-names><![CDATA[L]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Un vanguardista peruano]]></article-title>
<person-group person-group-type="editor">
<name>
<surname><![CDATA[Aramayo]]></surname>
<given-names><![CDATA[O]]></given-names>
</name>
<name>
<surname><![CDATA[Milla]]></surname>
<given-names><![CDATA[R]]></given-names>
</name>
</person-group>
<source><![CDATA[Carlos Oquendo de Amat. Cien años de poesía viva. 1905-2005]]></source>
<year>2004</year>
<page-range>78-87</page-range><publisher-name><![CDATA[Fondo de Editorial Peruana]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B28">
<nlm-citation citation-type="">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Núñez Pacheco]]></surname>
<given-names><![CDATA[R]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Cinema poesía: un visionario llamado Carlos Oquendo de Amat]]></article-title>
<person-group person-group-type="editor">
<name>
<surname><![CDATA[Volantines]]></surname>
<given-names><![CDATA[A]]></given-names>
</name>
</person-group>
<source><![CDATA[Segundo Congreso de Poesía de la Región de Coquimbo y el Mundo Andino]]></source>
<year>2006</year>
</nlm-citation>
</ref>
<ref id="B29">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Oquendo de Amat]]></surname>
<given-names><![CDATA[C]]></given-names>
</name>
</person-group>
<source><![CDATA[Cinco metros de poemas]]></source>
<year>1985</year>
<publisher-name><![CDATA[Orígenes]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B30">
<nlm-citation citation-type="">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Oviedo Pérez de Tudela]]></surname>
<given-names><![CDATA[R]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[La imagen en Carlos Oquendo]]></article-title>
<source><![CDATA[Ómnibus: Revista Intercultural del Mundo Hispanohablante]]></source>
<year>2006</year>
<volume>2</volume>
<numero>8</numero>
<issue>8</issue>
</nlm-citation>
</ref>
<ref id="B31">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Peña Ardid]]></surname>
<given-names><![CDATA[C]]></given-names>
</name>
</person-group>
<source><![CDATA[Literatura y cine: una aproximación comparativa]]></source>
<year>1992</year>
<publisher-name><![CDATA[Cátedra]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B32">
<nlm-citation citation-type="">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Pessis García]]></surname>
<given-names><![CDATA[B]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[El cine, los sentidos y el mercado en 5 metros de poemas de Carlos Oquendo de Amat]]></article-title>
<source><![CDATA[Dialogía]]></source>
<year>2014</year>
<volume>8</volume>
</nlm-citation>
</ref>
<ref id="B33">
<nlm-citation citation-type="">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Sales Delgado]]></surname>
<given-names><![CDATA[C. M]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Ciudad y vanguardismo en &#8220;New York&#8221; de Carlos Oquendo de Amat]]></article-title>
<source><![CDATA[LL Journal]]></source>
<year>2010</year>
<volume>5</volume>
</nlm-citation>
</ref>
<ref id="B34">
<nlm-citation citation-type="">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Sánchez Rodríguez]]></surname>
<given-names><![CDATA[A]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[La inmolación perpetua de Carlos Oquendo de Amat]]></article-title>
<source><![CDATA[Scriptura]]></source>
<year>1992</year>
<volume>8-9</volume>
<page-range>255-65</page-range></nlm-citation>
</ref>
<ref id="B35">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Sánchez-Biosca]]></surname>
<given-names><![CDATA[V]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[El montaje: entre cine, literatura y plástica]]></article-title>
<person-group person-group-type="editor">
<name>
<surname><![CDATA[Peña Ardid]]></surname>
<given-names><![CDATA[C]]></given-names>
</name>
</person-group>
<source><![CDATA[Encuentros sobre literatura y cine]]></source>
<year>2009</year>
<page-range>93-108</page-range><publisher-name><![CDATA[Instituto de Estudios Turolenses]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B36">
<nlm-citation citation-type="">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Siles Ojeda]]></surname>
<given-names><![CDATA[B]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Una mirada retrospectiva. Treinta años de intersección entre el feminismo y el cine]]></article-title>
<source><![CDATA[Caleidoscopio. Revista del AudioVisual]]></source>
<year>2000</year>
<volume>1</volume>
<numero>1</numero>
<issue>1</issue>
</nlm-citation>
</ref>
<ref id="B37">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Tynjanov]]></surname>
<given-names><![CDATA[Y]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Fundamentos del cine]]></article-title>
<person-group person-group-type="editor">
<name>
<surname><![CDATA[Bilbatúa]]></surname>
<given-names><![CDATA[Miguel]]></given-names>
</name>
</person-group>
<source><![CDATA[Cine soviético: Teoría y lenguaje]]></source>
<year>1971</year>
<page-range>113-43</page-range><publisher-name><![CDATA[Alberto Corazón]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B38">
<nlm-citation citation-type="">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Urrutia Gómez]]></surname>
<given-names><![CDATA[J]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Cine y poesía]]></article-title>
<source><![CDATA[Príncipe de Viana. Anejo]]></source>
<year>2000</year>
<volume>18</volume>
<page-range>405-14</page-range></nlm-citation>
</ref>
<ref id="B39">
<nlm-citation citation-type="">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Valero Juan]]></surname>
<given-names><![CDATA[E]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Geografías de poesía y vida en los &#8220;Cinco metros&#8221; de Carlos Oquendo de Amat]]></article-title>
<source><![CDATA[Anales de Literatura Española]]></source>
<year>2008</year>
<volume>20</volume>
<page-range>303-17</page-range></nlm-citation>
</ref>
<ref id="B40">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Vargas Llosa]]></surname>
<given-names><![CDATA[M]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[La literatura es fuego]]></article-title>
<source><![CDATA[Contra viento y marea (1962-1982)]]></source>
<year>1983</year>
<page-range>132-7</page-range><publisher-name><![CDATA[Seix Barral]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B41">
<nlm-citation citation-type="journal">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Villaplana Ruiz]]></surname>
<given-names><![CDATA[V.]]></given-names>
</name>
<name>
<surname><![CDATA[Ortuño Mengual]]></surname>
<given-names><![CDATA[P]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Film Poetry. Repensando el cine de vanguardia: arte en movimiento y poéticas visuales]]></article-title>
<source><![CDATA[Revista de Comunicación de la SEECI]]></source>
<year>2018</year>
<volume>47</volume>
<page-range>01-15</page-range></nlm-citation>
</ref>
</ref-list>
</back>
</article>
