THE CLEARING
Escobar examines the function of speech and silence within Paz Encina's poetic rhetoric. Encina's Paraguayan Hammock takes on the possibilities of cinematographic language, reducing it to the essential, the most appropriate features of cinema, its ultimate devices: the raw machinery that s...
Ausführliche Beschreibung
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Ticio Escobar [verfasserIn] |
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Englisch |
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2017 |
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Enthalten in: Film quarterly - Berkeley, Calif. : Univ. of California Press, 1958, 70(2017), 4, Seite 65 |
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volume:70 ; year:2017 ; number:4 ; pages:65 |
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| 520 | |a Escobar examines the function of speech and silence within Paz Encina's poetic rhetoric. Encina's Paraguayan Hammock takes on the possibilities of cinematographic language, reducing it to the essential, the most appropriate features of cinema, its ultimate devices: the raw machinery that stretches the limits of space and time, the pure artifice that confronts the spoken and the silent word, the shadow that appears, and the figure that withdraws. The film's technical resources are scarce but forceful: the steadiness of the camera; the frugal use of scenes; the minimum number of characters; their distorted, distant presences; the succinct action; and the scarce almost cutting dialogue. | ||
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Escobar examines the function of speech and silence within Paz Encina's poetic rhetoric. Encina's Paraguayan Hammock takes on the possibilities of cinematographic language, reducing it to the essential, the most appropriate features of cinema, its ultimate devices: the raw machinery that stretches the limits of space and time, the pure artifice that confronts the spoken and the silent word, the shadow that appears, and the figure that withdraws. The film's technical resources are scarce but forceful: the steadiness of the camera; the frugal use of scenes; the minimum number of characters; their distorted, distant presences; the succinct action; and the scarce almost cutting dialogue. |
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Escobar examines the function of speech and silence within Paz Encina's poetic rhetoric. Encina's Paraguayan Hammock takes on the possibilities of cinematographic language, reducing it to the essential, the most appropriate features of cinema, its ultimate devices: the raw machinery that stretches the limits of space and time, the pure artifice that confronts the spoken and the silent word, the shadow that appears, and the figure that withdraws. The film's technical resources are scarce but forceful: the steadiness of the camera; the frugal use of scenes; the minimum number of characters; their distorted, distant presences; the succinct action; and the scarce almost cutting dialogue. |
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