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In this essay our purpose is to analyze the way Enrique Vila-Matas (Barcelona, 1948) inherited modernists’ fascination for cinema and how he revisits it in his books, mixing up his early enthusiasm as a fledgling director with a certain uneasiness toward the critical conviction that his generation was deeply influenced by a cinematic perspective. Vila-Matas’ will to develop new narrative instruments with the intent to distance himself from his contemporary colleagues in merging cinema and literature will finally bring him to adopt an original posture in matching together literary quotations and images, rearranging and improving the godardian method of combining together different semiotic languages.

Vila-Matas-<em>sur-Mer</em> o <em>la dolce vita</em> por las callejas del «cine-cita»