Cronotopos en trance: La mirada descolonizadora de la novela DON GOYO llevada al cine (original) (raw)
Related papers
Cinema as Method: Re-vision in Ramón Gómez de la Serna's Film Script Cifras (1930)
Modernism/modernity, 2023
This article spotlights modernist screenwriting, an underrated textual form modernists failed to attend to both in Spain and elsewhere, dismissed as nonliterary or simply not acknowledged. In 1930, one of Spain’s most representative modernist authors, Ramón Gómez de la Serna, published a film script in the prestigious Parisian film magazine, La Revue du Cinéma. With each sequence of the script based on Gómez de la Serna’s short fiction, I propose to read his revisions—or re-visions—to his prose as creatively regenerated text (screenplay). Gómez de la Serna puts into practice his assertion that cinema was not a new, so-called “Seventh Art” but rather a new literary method, what he cleverly termed el séptimo procedimiento or the “seventh method.” Using cinema as a methodological, compositional tool to experiment with the narrative strategies of his prose, his re-visions interrogate practices of repetition (modification of content) and re- presentation (alteration of the manner in which that content is conveyed). Via the anxiety-inducing frame of bodily violence and the watching of it, Cifras critiques film spectatorship, and more generally, our forms of observing and engaging the world. Study of the script thus unearths a new vein of Gómez de la Serna’s literary work and highlights a telling example of how film was perceived by writers in Spain. Above all, by probing the intersection of literature and film, this modernist's re-visioning sheds light on the multifaceted ways of telling a story while challenging assumptions about the nature of literary writing.
Visual Studies, 2020
Rita Azevedo Gomes’ Correspondências (2016) draws on the epistolary correspondence between Sophia de Mello Breyner Andresen and Jorge de Sena, as well as their respective poetic works, to build an epistolary-poetic, audio-visual and sensory-emotional kaleidoscope based on their reading, reciting and representation in different languages. In this way, the filmmaker generates a kind of phenomenology of reception that uses all the audiovisual possibilities: the different formats, digital and analogue; their multiple textures; and the diverse options of the texts enunciation. The experimentation with their different combinations, also using various image and sound effects, materialises in an epistolary-poetic essay film which reflects on the aesthetic experience and attains a hybrid, complex image defining contemporary cinema: between person and character, diegesis and extradiegesis, digital and analogue images, voice-in and voiceover, private and public, life and work, present and past, absence and presence, that is, between reproduction and representation. Azevedo’s essayistic reflection on creation, exile and absence is generated through parataxic thinking and interstitial thinking that create dialectical and symbolic sentence-images. Thus, Correspondências becomes an avant-garde expression of both contemporary epistolary cinema and contemporary essay film.
From the basic etymology of the term “Cinematography”, namely the γραϕία (writing) of κίνημα (movement), the mutual connection between movement and literariness appears as inextricable. Obviously this tight entanglement is not merely reducible either to the manifest and unequivocal presence of literature in cinema, as the innumerable examples of cinematographic adaptations of novels and short stories suggests, or to the functional role that literature, as screenwriting1, plays in the cinematographic artistic production. Hence, which are the other perspectives, whence is possible to expand and illustrate the etymological relation between literature and cinema? In this paper I would like to investigate this osmotic binomial developing my analysis by the comparison of the literary jargon used both by Gilles Deleuze and Pier Paolo Pasolini, respectively in Cinema 1. The Movement-Image [C1] and Cinema 2. The Time-Image [C2] and in Empirismo Eretico, focusing mainly on C2's chapter “The Powers of The False” and Pasolini's essay “Il 'Cinema di Poesia'”. I will attempt to express how their expression of cinematographic concepts through specific literary terms cannot be implied by a semiotic interpretation of cinema as a purely linguistic interpretable structure. Indeed, both Deleuze and Pasolini, whilst they were undoubtedly inspired by the semiotic interpretation of cinema proposed by Christian Metz for instance in Essais sur la Signification au Cinema2, propose divergent conceptions that criticize and enlarge the linguistic interpretation. For this reason Deleuze, in the first lines of C2 conclusions, states: “Cinema is not a universal or primitive language system [langue], nor a language [langage]. It brings to light an intelligible content which is like a presupposition, a condition, a necessary correlate through which language constructs its own ‘objects’ (signifying units and operations)” (262), adding that cinema consists in “prelinguistic images” and “pre-signifying signs”. Accordingly, although in “Il 'Cinema di Poesia'” he claims the necessity of semiotic terms in order to analyse “la lingua espressiva [the expressive langue]” of cinema, Pasolini affirms that the cinematographic images constitute a “pre-grammatical” and “pre-morphological” realities. Therefore, in my paper I will express how the etymological modern aesthetic of “cinematography” mutually relies on the inherent literariness of cinema and on the cinematic nature of modern literature. This conception, however, has not to be intended as a sort of transformational critic operation whereby cinema becomes narrative or narrative turns into cinema. On the contrary, presupposing the communal yet distinct terminology, it implies the mutual reflection on the singular percepts, using Deleuze term, expressed by the two aesthetic in the modern and post-modern epoch. In this sense, I will attempt to reverse Deleuze's literary concepts of “description” “narration” and “story” in the cinematic “time-image” and Pasolini's “free indirect subjective”, and their reflections on subjectivity and objectivity by drawing a continuous trajectory that tries to express the cinematographic, in the etymological sense of the term, nature of modern literature. Specifically, I will analyse the cinematographic narrative of Carlo Emilio Gadda's novel Quer Pasticciaccio Brutto de Via Merulana [That Awful Mess of Via Merulana], trying to stress the analogous expression of movement and time that underpinned modern literature and cinema.
Drawing on philosophy in film (Deleuze, Carroll), and on emotional engagement theory (Panksepp, Plantinga), this article compares three different sensory landscapes of dictatorship in film: Fritz Lang’s The Testament of Dr. Mabuse (1933), Guillermo del Toro’s The Devil’s Backbone (2001), and Luis Llosa’s The Feast of the Goat (2005). Although the three films deploy diverse aesthetic modes—Expressionism-Noir (Lang), Psychological-Realism (Llosa), and Gothic (del Toro)—they mutually reveal the existence of an ethics of resistance and insurgency during historical periods of oppressive rule. Tendo como perspectivas de análise a teoria da emoção (Panksepp, Plantinga) e estudos da filosofia no cinema (Deleuze, Carroll), este artigo compara três paisagens fílmicas da ditadura: O Testamento do Dr. Mabuse de Fritz Lang (1933), A Espinha do Diabo de Guillermo del Toro (2001), e A Festa do Bode de Luis Llosa (2005), revelando como através de modos estéticos distintos—Expressionismo Noir (Lang), Realismo Psicológico (Llosa) e Goticismo (del Toro)—os três filmes revelam uma ética semelhante, de resistência e insurgência, aos regimes de opressão a que se reportam.
Critical Montage in Tomas Gutiérrez Alea's Cinema of Insilio
LL Jouranl, 2017
In the long history of political banishment in Latin America there is a counterpart to the category of "exile" that needs more attention: the individual that is excluded, or marked as an "undesirable" by an authoritarian regime for ideological reasons, yet remains inside the country in a condition of reduced citizenship that mirrors that of the political exile. In this paper I would like to expand the discussion of insilio from literature to cinema through an analysis of Tomás Gutiérrez Alea's most influential films, Memorias del subdesarrollo (1968) and Fresa y Chocolate (1994). This paper will look first at how Gutiérrez Alea uses critical montage to illustrate the phenomenon of Cuban insilio in two different periods in Cuban revolutionary history. I will demonstrate how the cinematic language of montage is able to illustrate the subjective disjointedness and fragmentation caused by internal exile. My analyses of these films' cinematography are informed by Sergei Eisenstein's ideas on the dialectical dimensions of montage (summarized in the term "critical montage") and Michael Betancourt's approach about spatial montage. This paper will also look at how montage in Gutiérrez Alea's films achieves a unique form of communication built on dialectical contrast through a calculated disposition of camera shots, spatial arrangements, and mise-en-scène that makes critical montage more than just the outcome of concept vs. narrative-based editing.
The Cinematic Temporalities of Modernity: Deleuze, Quijano and How Tasty was my Little Frenchman
2013
This article takes a first step towards identifying a non-Eurocentric film-philosophy. It does so by exploring how cinema expresses, or rather constructs, time. Whilst the narratives of all films can be said to be underpinned by some broadly identifiable philosophical or cosmological conception of time (from the Aristotelian emphasis of Hollywood’s continuity editing to the dharmic cycles of Bollywood’s distinctive episodic cinema of spectacles), the focus here is on how modernity is considered, temporally, in films from different parts of the world. This process begins with a brief introduction to the most important and widely-used concept of cinematic time, that of Gilles Deleuze’s time-image. From the range of different examples that can be offered to outline a varied range of cinematic temporalities of modernity, the Brazilian film directed by Nelson Pereira dos Santos, ‘Como Era Gostoso o Meu Francês/How Tasty was my Little Frenchman’ (1971) is singled out for focused analysis. This rare but wonderful film, known for its postcolonial importance (along with the engaging viewing pleasures it offers, of black humour, full frontal nudity, human sacrifice and cannibalism), provides an opportunity to reconsider the specific meaning of the time-image in relation to world history. When seen in light of the conclusions of philosophers writing in the wake of Immanuel Wallerstein’s world systems analysis, like Michael Hardt, Antonio Negri and Aníbal Quijano, the time-image can be said to express a five-hundred-year history of modernity that commences with the discovery of the Americas. This is not solely to provide a different angle from which to consider the concept of the time-image. Rather, as is noted in the conclusion, it is an attempt to shed new light on the varied cinematic temporalities of modernity evident in contemporary world cinemas, and is therefore a first step towards a non-Eurocentric film-philosophy.
Filmmakers compel rituals through the moving image. If film can represent, provoke, advance, be structured like and even invent or produce rituals, the question arises whether it might also be possible for a film to be a ritual. Can a ritual exist by means of moving image? Can one undergo a ritual through moving pictures? I will try to show that there are cases of movie-made rituals. And if there exists some movie-made ritual, then ipso facto movie-made ritual is feasible. To clarify cinema as a possible vehicle for a ritual to happen, I will firstly present the concept of REATUAL by the Cameroonian filmmaker Jean-Pierre Bekolo. Secondly, I will investigate briefly his film as a case in point of “cinema as reatual”. Thirdly, we will try to understand the “reatualistic” potentiality of cinema by means of an investigation into the nature of the ritual and thereby move away from cinema studies’ representational paradigm and see how the virtual (Deleuze) in reatualistic cinema confronts and intervenes in the real.
Film narrative in contemporary literature: an Argentinian example
Todas as Letras Revista de Língua e Literatura
This article investigates the presence of film language in contemporary fiction through the example of two novels of the Argentinian writer Tomás Eloy Martínez: La novela de Perón (The Perón Novel-1985) and Santa Evita (Saint Evita-1995). Unlike the major work about adaptation it takes the intermedial dialogue in reverse-from film to book-to focus on media configurations and their specific intermedial qualities. It also discusses the historic relations between literature and cinema to consider the way this Hispanic literary production incorporates specific cinematic devices.