Literatura y cine en Venezuela
From the perspective of comparative study of literature and cinema, we have had the purpose of exploring, reflecting and analyzing the filed of film transpositions in the context of Venezuelan film. Our first purpose was to investigate the dialoging and inter-system character that could allows establishing proper encountering levels. From these perspectives, this work assesses the most frequent scopes of different criteria, judges and conceptions on film transpositions, considering the interrelations between literature and cinema fields such as production, reception, distribution and publication-releasing-exhibition of literature and film texts.
Secondly, comparing analysis, from the point of view of narratology, proposes the possibility to raise a path of the film corpus and to study it both from transposition point of view and in this way to show different models of film and literary approaches- and as a specific subject. In this sense, we chose a sample of filmic transpositions in which it was possible to analyze the fictional imaginary of the intimacy and the subjectivity. In each referring literary and its filmic transposition, we wonder, from narrative of the quotidian life framework, how the configuration of the intimacy is constructed from individual personages rather than collectivities.
In this thesis, a group of films made in Venezuela from 1980 to 1995 was chosen. We refer, particularly, to Ifigenia (1987) of Ivan Feo, based on the homonymic novel (1924) of Teresa de la Parra; Oriana (1985) of Fina Torres, based on the short story "Oriane, tía Oriane" (1975) of Marvel Moreno; Pequeña revancha (1984) of Olegario Barrera, according to the short story "La composición" (1978, approximately) of Antonio Skármeta; Reinaldo Solar (1986) of Rodolfo Restifo, from the homonymic novel (1920) of Rómulo Gallegos and, finally, Los platos del diablo (1993) of Thaelman Urgelles, based on the homonymic novel (1985) of Eduardo Liendo. In order to center better the problem of the construction of the intimate and subjective fictional imaginary, either in literary texts or in their transpositions, we chose to ask us for the narrative, discursive or filmic mediations that allow to evaluate how the fictional narrative imaginary are constructed.
In our investigation, more than "to find" the lost text, we are interested in establishing the analysis from the differences of media word and image-, without intention of establishing analogies, but, rather, to emphasize as much the search of equivalences and similarities as of the differences. In the same way, although we agree that a film must be evaluated, fundamentally, by aesthetic, narrative or filmic achievements, the compared analysis it is not established to questioning the differences like losses come before the literary. As differentiating and differential practices, filmic transpositions become in border practices; for that reason, before to label as losses of the literary text, we assumed a study where the differences with the literary text are as valuable as the successes in the construction of the similarities of the narrative models.
In the design of this research, we considered a cross-sectional look, rather than diachronic or synchronous, to explore and to offer a perspective from which the analyses of filmic transpositions allowed to go from texts and their narrative models to their contexts, knitted by so powerful narratives as the judgments around "having to be" of certain ways of artistic expression. In the same way, this investigation is a partial proposal and attempt, from which to open the debate and the dialogue on the ways in which the narrative productions interact and model the cultural imaginaries.
Advisor:Torras, Meri; Marina Riva, Luz
School:Universitat Autónoma de Barcelona
Source Type:Master's Thesis
Keywords:428 departament de filologia espanyola
Date of Publication:11/17/2006