Download Burning Darkness: A Half Century of Spanish Cinema by Joan Ramon Resina (ed.), Andrés Lema-Hincapié (ed.) PDF
By Joan Ramon Resina (ed.), Andrés Lema-Hincapié (ed.)
From the origins of the recent Spanish Cinema within the Fifties to the tip of the final century, Burning Darkness gains essays on a variety of crucial movies through Spain’s most vital administrators, together with Pedro Almodóvar, Luis Buñuel, Víctor Erice, Ventura Pons, and others. members specialise in present theoretical debates and problems with illustration, politics, cultural id, and aesthetics. instead of traditionally surveying Spanish movies, the booklet encourages a deep interpreting of those crucial works and the methods they solid gentle on particular facets of Spanish society and its fresh historical past. Accessibly written, it's going to allure not just to scholars and students but in addition to a person attracted to Spanish cinema.
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Additional resources for Burning Darkness: A Half Century of Spanish Cinema
At least in Camus, it still makes sense to speak of sin, as long as it is understood as “sin without God” (The Myth 40). 5. Death only reveals to Mersault the absurdity of existence in general. Thus, his understanding remains theoretical. In contrast, death reveals to Juan the absurdity of his own existence, providing him with the opportunity to root his personal decisions in social commitments. In this way, Juan’s understanding is both theoretical and practical. 6. According to Miguel, egoism, as a principle of behavior, is the motor of María José’s actions.
However, in Sartre the phenomenology of the gaze is an opportunity to build his anthropology of conﬂict, which is transcendent but still human. For this infernal anthropology, binding social ties are those of war and survival: others want to destroy my freedom by making me a thing (Medusa’s gaze) and at the same time I know myself through others. Despite its infernal nature, in Sartre’s No Exit and Being and Nothingness this anthropology is unavoidable and effectively at work. Through his use of the close-up, Bardem reveals that this kind of anthropology is indeed an important aspect of social life.
Grifﬁth had inaugurated with his close-ups of hands that anxiously clasp and rub themselves in the last and crowning story of Intolerance. Action and movement are attenuated when the close-up delivers sentiment and sensation to the point that it seems to be a sign of truth and psychological verisimilitude. The drive-image is somewhere between the “realism” of action and the “idealism” of affection. Affection (what belongs to the emotive and psychological dimensions of the medium) and action (the crux of Aristotelian poetics that eschew psychology) are studied in a distinctly geographical sense.