(2) The discussion that follows looks at how three cinematographic adaptations of Valle-Inclán's dramatic works portray a particular segment of rural and urban Spanish society through the lens of Valle-Inclán's particular form of protest, the esperpento. The spectator is often so immersed in this fictionalized reality that he or she forgets that the film text also represents the cultural specifics and values of a given society. Stock plots are created and narratives developed that imitate a reality that appeals to the dreams, aspirations, and fears of its viewers. (1) On the other hand, the classical realist film represents a genre that sets out to construct a world of fiction. The documentary purports to represent an unfiltered, non-fictionalized reality, although it carefully chooses and edits those segments of filmed scenes that support a given thesis. Film has the power to capture in images both an original verbal narrative text and the history and cultural life of a given society, ranging from the smallest detail in a close-up shot-the engraving of an initial on a piece of silver-to the wide panoramic shot of an epic battle scene.
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