Victor Erice's El Sur : A Narrative of Star-Cross'd Lovers
1987; Liverpool University Press; Volume: 64; Issue: 2 Linguagem: Inglês
10.1080/1475382872000364127
ISSN1469-3550
Autores Tópico(s)Cinema History and Criticism
ResumoClick to increase image sizeClick to decrease image size Notes 1. A número doble of Papeles de Cine Casablaca, XXXI–XXXII (Julio-Agosto, 1983), reproduces a wide range of opinions of El Sur, expressed in the Spanish and international press. For a British view, see Derek Malcolm's review in The Guardian (29 March 1984), 11. 2. ‘33 preguntas eruditas sobre El Sur’, in Papeles de Cine Casablanca, XXXI–XXXII, 55–58. Erice's own account of the circumstances of the film's premature completion is given in José Luis Rubio's article, ‘Los males -de “El Sur’”, in Cambio 16, 601 (6 de junio 1983), 128–32. 3. See Katherine S. Kovacs, ‘Berlanga Life Size’, in Quarterly Review of Film Studies, 8: New Spanish Cinema, ed. Katherine S. Kovacs (New York, 1983), 7–13. 4. Jonathan Culler follows the Russian Formalists, Gérard Genette, Mieke Bal and others in drawing a distinction between story—'a sequence of actions or events conceived as independent of their manifestation in discourse’—and discourse—'the discursive presentation or narration of events’, in The Pursuit of Signs (London: Routledge and Kegan Paul, 1981), 169–87. 5. See Wayne C. Booth, The Rhetoric of Fiction (Chicago/London: Univ. of Chicago Press, 1961), 74–76. 6. Sigmund Freud, On Sexuality. Three Essays on the Theory of Sexuality and Other Works, trans. James Strachey and ed. Angela Richards (Harmondsworth: Penguin, 1977), 217–20. 7. Sigmund Freud, ‘Femininity’, in New Introductory Lectures on Psychoanalysis, trans. James Strachey and ed. James Strachey and Angela Richards (Harmondsworth: Penguin, 1973), 145–69. 8. See ‘Family Romances’, 225. 9. As currently used by narratologists the term ‘diegetic’ describes those elements in a story or film which belong to the sphere of the narration; ‘diegesis’ (recounting) is distinguished from ‘mimesis’ (representing). See Gérard Genette, Narrative Discourse, trans. Jane E. Lewin (Oxford: Oxford U.P., 1980), 27, 166 and 227–31. 10. The tune ‘Blue Moon’ is featured in Douglas Sirk's Melodrama, There’s Always Tomorrow (1955), as a signature of the frustrated romance between neglected father and husband Clifford Groves (played by Fred MacMurray) and his former employee, the now accomplished and independent Norma Miller (Barbara Stanwyck), whose blonde beauty invests her with archetypal properties shared by Irene Ríos. 11. Papeles de Cine Casablanca, XXXI–XXXII, 60–70. 12. See Donald Spoto, The Art of Alfred Hitchcock (London, 1977), 133–43.
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