scholarly journals LA AUTONOMÍA DEL GUION CINEMATOGRÁFICO COMO GÉNERO LITERARIO. LA GENIALIDAD CREATIVA DE BUÑUEL Y JULIO ALEJANDRO EN VIRIDIANA (1961)

2020 ◽  
Vol 29 ◽  
pp. 523
Author(s):  
Cristina JIMÉNEZ GÓMEZ
Keyword(s):  
Narrative Structure ◽  
Luis Bunuel ◽  
Simple Instrument ◽  
Symbolic Meanings ◽  
Visual Analogy

Resumen: El guion cinematográfico no constituye un simple instrumentopara la realización final del film, sino que requiere ser estudiado como untexto artístico y como un género literario en sí mismo en tanto que poseeunas características retóricas, estéticas y poéticas que son expresadas através del lenguaje cinematográfico. En el guion cinematográfico deViridiana (1961), Luis Buñuel y Julio Alejandro explotan los recursosretóricos, poéticos y estéticos del texto guionístico para construir laanalogía visual y los significados metafóricos y simbólicos en la estructuranarrativa de su película. Abstract: The screenplay is not a simple instrument for the final realizationof the film, but it needs to be studied as an artistic text and as a literarygenre due to that possesses a rhetorical, aesthetic and poetic characteristicsthat are expressed through the cinematographic language. In the script ofViridiana (1961), Luis Buñuel and Julio Alejandro use the rhetorical, poeticand aesthetic resources of the screenwriting text to construct the visual analogy and the metaphorical and symbolic meanings in the narrative structure of their film.

Mythological Conceptualization in A.O. Balabanov’s Films and Interpretation of “The River”

2020 ◽  
Vol 17 (3) ◽  
pp. 262-277
Author(s):  
Aleksey G. Pudov
Keyword(s):  
Fairy Tale ◽  
Narrative Structure ◽  
The Arctic ◽  
Traditional Society ◽  
Close Attention ◽  
The North ◽  
Self Development ◽  
Symbolic Meanings ◽  
Main Thing ◽  
Subsequent Splitting

This paper attempts to uncover the semantic message of “The River”, an unreleased film that was supposed to be a new program product in the filmwork of Aleksei Oktyabrinovich Balabanov. At the beginning of the article, the author reveals the director’s method of conceptualizing his films that appeal to the mythological conceptualization of the narrative structure in addition to the plot and genre of the film. The latter is clarified in the process of comparing the films with the structure of a fairy tale, which has also already been noted by some researchers of Balabanov’s movies. The novelty of the article is connected with a philosophical analysis of the indicated conceptualization of “The River” film-project (2002) and an attempt to identify aesthetic effects and symbolic meanings encoded in the film production.The author believes that the close attention of “The River” project’s director to the cultures of traditional society, and especially the culture of northerners — the Tofalars (Tofa), the Yakuts (Sakha), is due to the proximity of the traditional cultures of the North and the Arctic to the mythological method of conception in culture. In this sense, “The River” project was, in all likelihood, to become the director’s experiment in building an archaic topos with a crystalline mythological concept of the abundance of the natural over the cultural and the corresponding mentality and psychology of the actions of the “old era”. The main thing in this cinematic experiment was to take the culture “off the table” and analyze the natural spontaneity in human nature, with the subsequent “splitting” of mythological consciousness, breaking the epic circle of tradition with a symbolic outcome, through the concept of “boat” and “river”, to a universal human principle, metaphysical topos of thought. The prophetic gift of the director, embodied in a number of his films, is interpreted on the example of “The River” and reflects the message for the path of self-development of the cultures of Russian peoples.

Toxicity in Themes of Control: An Analysis of the Anglo-Western Cancer Rhetoric in A Monster Calls

2017 ◽  
Vol 4 ◽  
pp. 117-129
Author(s):  
Natali Cavanagh
Keyword(s):  
Western Culture ◽  
Narrative Structure ◽  
The World

While infection has always haunted civilizations around the world, there are very few diseases that have had as much of an impact on Western culture as cancer has. The abundance of bereavement literature about characters with cancer begs the question; why cancer? This paper discusses ways in which cancer narratives reinforce Western obsession with control, through the lens of rhetoric and narrative structure. The author will specifically discuss how Patrick Ness’ 2011 novel, A Monster Calls, combats modern illness and cancer narratives and challenges themes of control threaded into Western culture

: Nazarin . Luis Bunuel, Manuel Barbachano Ponce.

1960 ◽  
Vol 13 (3) ◽  
pp. 30-31
Author(s):  
Gavin Lambert
Keyword(s):  
Luis Bunuel

An Embedded Chiasm in the Narrative Structure of Psalm 105

2019 ◽  
Vol 28 (1) ◽  
Author(s):  
Lee Roy Martin
Keyword(s):  
Narrative Structure

This article suggests that a previously unrecognised chiasm is embedded within the narrative structure of Psalm 105. Both the narrative structure and the chiastic structure of Psalm 105 are described, and the rhetorical significance of these structures is explored. The narrative structure points to the value of historical recital as a form of testimony and theological articulation within the liturgical life of Israel. The chiastic structure highlights significant elements of the psalm and its story. The emphasis of Psalm 105 is on Yahweh’s power and dominance over Israel’s enemies, a dominance that generates trust and hope that would be particularly beneficial to those hearers who were suffering in the exilic or in postexilic contexts.

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