Acceso usuarios
Chrystian Zegarra
There is a fruitful connection between Latin American avant-garde poetry and the cinema in the first decades of the twentieth century. This article analyses the way in which Peruvian poet Emilio Adolfo Westphalen (1911-2001) incorporates some theoretical concepts put forward by Soviet director Sergei Eisenstein, pertaining to dialectical montage, into his own poetic work, especially in the poems published in the 1930s. I also explore some techniques related to collage in order to underscore the way in which Westphalen's poetry turns out to be a literary mixture of dialectical forces in conflict.
