Un film sentimental para tus ojos: El cinematógrafo en la poesía ultraísta de Lucía Sánchez Saornil

Lucía Sánchez Saornil was the only woman poet who participated in Ultraism, a Spanish Avant-Garde movement of the 1920s that implemented constant thematic and formal experimentation in search of a new language capable of representing modernity and technology. This Spanish-language paper focuses on the impact of cinematography on the Ultraist poetry of Sánchez Saornil. By analyzing two of her poems, Cines (1921) and Domingo (date unknown), I explain how she utilizes cinematography to 1) to express her experience of modernity and 2) to articulate her relationship with her poetry and the reader. The analysis of these texts and the role of their cinematographic elements reveals Sánchez Saornil\u27s complex attitude towards modernity and the Ultraíst movement: her initial moderate fascination, exemplified by the tone of Cines, evolved into a deep anxiety over the dehumanizing tendencies of modernity and Ultraism, a preoccupation that pervades the poem Domingo. She eventually abandoned the techniques of Ultraism and became involved in Spanish left-wing anarchist and feminist movements. Even though she did not fully turn to political activism until the 1930s, Sánchez Saornil always defended sentimental authenticity and vindicated the value of the human being in her poetry. Her unique critical perspective on modernity distinguishes her from her contemporaries and justifies the consideration of her work as an important contribution to Spanish literature