From the origin of the oldest civilization, to the appearance of the avant-garde of the 20th century, artists have been interested in the problem of establishing a relationship of kinship between the arts, their mutual influences, interferences and comparative relationships, for example, between the colors of the paintings and the sounds of the words; the musicality and rhythm of a poem and its parallelism with a painting or a film. The affinities between certain writers, painters or film directors. Cinematographic scripts and films that are "born" from a literary text and its intimate relationship with aspects of a certain society. Stories, novels or paintings that are the result of a strong stimulus to the imagination, from the projection of a film.

Icon painters were called "iconographers" because they were considered more "writers" than painters. The icon was actually a text written in images: the "Bible of the poor", the book of those who could not read or write. In this sense, cinematographic language is also a text, basically made of images, rather than words. "Visual Poetry", called by certain filmmakers. Who in turn are called the "artificial light painters".

From that version of Zola's text that F. Zecca made in 1902 for his film Victims of Alcohol, or from the staged adaptation of J. Verne's adventure novel 20,000 Leagues Under the Sea, made by G. Melies in 1907, passing by Griffith, Eisenstein or the film Un perro andaluz (1928) by Dalí-Buñuel, even the most current literary and pictorial absorptions, made by the cinema, have spanned more than a century. In this relationship, many tend to say that both discourses have been enriched, and that literature, especially narrative, has given cinema its status as a story, and cinema has ceded part of its syntactic elements (fade, montage, flashback, etc.). sequence shot, etc.). In addition, cinema has contributed to the formal evolution of art, its crises and its vanguards. By the way, it should be remembered that cinema begins by asking permission, especially from literature. Counting on such a prestigious endorsement, he entered the domains of art and became, the last of them, precisely: "the seventh". Being the most totalizing and massive. Cinema is not only literature, but also photography, painting, music, etc. And like any whole, it cannot be reduced to any of its parts. Moreover, it is not the sum of all of them either. Cinema as a whole is something other than the sum of its parts. Regarding his relationship with the other arts in general, he had two ways of approaching him: one "servile" and the other "creative". The first (which has to do with the "technical origin" of the invention of cinema) maintains an attitude of subordination towards the other arts, which confuses respect with obsequiousness. The second (the one that has to do with the "aesthetic origin" of cinematographic discourse, from Griffith and Eisenstein) a certain autonomy. In the first there is a clash, a confrontation. And a vertical-hierarchical "relationship". In the second there is contact and dialogue, a rather horizontal-democratic relationship, of complementarity and fraternity. Therefore more decidedly rich and creative. As we can see, in these first signs charged with power, there is already something reciprocal and interchangeable, elements that "interfere" in their respective languages and expressive means. Art changes, but it does not progress, because for it, unlike science, a new perspective or a new technical medium does not annul the previous ones. The crossroads that make up the structure of El Cine en su laberinto are the result of the intertwining of pleasure and knowledge. Connections of different arts and disciplines (literature, painting, history of culture and society). And just like what has already been commented on, De Cine Somos (critics and views from art) -also published by Topía Editorial- and of which this new book is in a certain way its continuation: "entering the labyrinthine adventure that its reading represents a conjectural attempt on the expansion of critical rationality, a concept that does not mean adding elements or giving it a greater domain, but trying to search for more enriching alternative forms of analysis. Hence the perplexity and amazement as elements proposed to start the journey and the adventure that implies going through these exchanges of glances and readings”. And what more than an "inventory of calamities" from the past century, which in fact was the most "genocidal" in the history of humanity, the idea in this book is to reflect on the issue of gaze: a distinctive and accumulation of memories for the present and the future, taking as a reference, the "prophetic" and brilliant testament of I. Calvin, his Six proposals for the next millennium: "the millennium that is about to end saw the birth and expansion of the modern languages of the West and the literature