Literatura y cine (adaptación cinematográfica) y transmedialidad
Teoría y crítica literaria anglófona
Teoría y crítica literaria y fílmica con perspectiva de género
Romance y amor romántico
Grupos de investigación a los que pertenece:
Literatura, Identidad y Traducción cultural (TRANSLIT), Universidad de Oviedo
Publicaciones:
Pérez-Fernández, I. and Carmen Pérez Ríu eds. (2021) Romantic Escapes. Postmillennial Trends in Contemporary Popular Romance Fiction. Bern: Peter Lang. And the chapter “Romance Reading as Fandom in the Context of Convergence Culture” in the same volume.
Perez Ríu, C. (2019) “Neo historical fiction: David Mitchell’s Take on Adventure, Empire and the Exoticization of the Past” Theory Now. Journal of Literature, Critique and Thought 2 (2) 2019, 182-199.
Pérez Ríu, C. (2017). Constructing Filmic Intersubjectivity through Haptic Visuality and Poetic Language in Sally Potter's Yes (2004). Special Issue: Feminist Interventions in Intermedial Studies. European Journal of English Studies, 21(3), 227–241.
Pérez Ríu, C. (2017). Transition, circularity and haptic space: the representation of the city from Ruth Rendell's Live Flesh into Pedro Almodóvar's Carne Trémula. Continuum. Journal of Media and Cultural Studies, 32(1).
Pérez Ríu, C. (2015). "Don't forget this is how I earn my living": Internal focalization, subjectivity and the Victorian woman artist in adaptation of Anne Brontë’s The Tenant of Wildfell Hall (BBC Miniseries, 1996). Brontë Studies, 40(1).
Pérez Ríu, C. (2015). “To Make You See: Photography as Intermedial Resource in Theatre and Film Adaptation (Closer and The Winter Guest).” Adaptation, 8(2), 176-191.
Pérez Ríu, C. (2013). "A character is either real or imaginary? If you think that, hypocrite lecteur, I can only smile…" La ficcionalización del autor/a de la literatura al cine. Archivum, 63, 211-244.
Pérez Ríu, C. (2010). El retrato del doble: sobre los lenguajes del cine y el teatro. Fuentes Literarias del Cine. Arbor, 186(741), 59-68.
Pérez Ríu, C. (2007). Matar a Medusa: el arquetipo de la víctima en el thriller psicológico. En M. C. Rodríguez Fernández (Ed.), Diosas del Celuloide, Arquetipos de Género del Cine Clásico (pp. 93-124). Madrid: Ediciones Jaguar.
Pérez Ríu, C. (2006). Women's self-portrait as self-discovery: Negotiating the gap between seeing and being seen in Drusilla Modjeska's The Orchard. ES Review. Revista de Filología Inglesa, 64(1), 151-163.