Here we have the beginning of the century, in a Barcelona that explains itself day by day with all the voices. Here we have all the contradictions, all the wishes, all the expectations of a twenty-year-old boy, learning everything. Here we have the life of an incipient artist with all his passion boiling over, for music, literature, painting and, without respite, friendship and sex. Here we have him, with his family, the summer town and the streets of the upper part of the city. Here we have a personality that gradually creates itself, that contrasts with its environment and wants to make it its own, to contribute its perspective. And here we have it, to make it ours. To love him, or to hate him. With La tela blanca (The Withe Canvas), his first book of fiction, Josep Torelló creates a peculiar character, rich in nuances and dark points, which we get to know from the notes in a diary. He uses all the resources so that we know who and what he is like: personal confession, aesthetic reflection, travel chronicles, the assessment of the capital and the town, sentimental adventures and, also, poetry.

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The presence of music in films has defined part of the ontological, narrative, expressive, dramatic, psychological and even historical mechanisms with which the cinematographic language has articulated the diegetic space-time. These issues are discussed in this work, which completes a study of music present and articulated in cinema and investigates the aesthetic relationship between music and image.

On the one hand, the work describes the aesthetic principles expounded in the bibliography on the relationship between music and image when both are projected together on a cinema screen are described. And on the other hand, an innovative study on the genealogy of cinematographic language is being developed, focusing on how it has evolved to the present day and what is the role of music in the successive forms of audiovisual expression.

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