The articles in this year’s issue reflect the complexity and richness of the category of Screen Arts, and gesture towards the productive or illuminating consequences of crossing boundaries or borders. We feature analyses of experimental as well as more traditionally narrative fiction films, television, and video art, pointing to the possibilities offered by this publication platform. Intermediality comes to the fore via the study of a television adaptation of a Golden Age classic, La Celestina, and of the experimental reconfiguration of fiction film in Paul Leduc’s musical trilogy. The dual status of Celedón and Lihn’s Adiós a Tarzán as both performance and video art raises questions about the diverse audiences, receptions, and interpretive frameworks associated with these different creative modes. Meanwhile, the analysis of Biutiful indicates how the various borders and boundaries generated by global capitalism can also manifest themselves visually and spiritually. A further common thread relates to the borders between past and present, as contributors foreground how historical experiences continue to impinge on the contemporary moment, or examine cultural productions that combine tradition with innovation.
In a context increasingly shaped by the proliferation of high-quality television programming, streaming platforms that are also becoming powerful producers, online festivals and film premieres, and the digital viewing experience more generally, we welcome submissions that reflect the full range of “screen arts,” and perhaps also the shifting or blurring boundaries between film, television, and video art. We particularly encourage transnational approaches that connect or compare the screen arts of the Iberian Peninsula with those of Latin America, or foreground transnational figures, movements, or productions.