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Volume 26 Issue 2 Table of Contents
Get PDFNote: A new version of this PDF was posted on Nov. 6, 2020, in the course of updating State Library of Oregon email addresses throughout the issue
Viaje a un mito de autor a través de los géneros en El muerto y ser feliz (Javier Rebollo, 2012)
Get PDFAt a time when the concept of auteur cinema is being deeply questioned, the cinematographic work of Spanish director Javier Rebollo (1969-) can be understood as a sample of formal characteristics and experimental narratives leading to a reaffirmation of director as an auteur. In Rebollo’s third film, El muerto y ser feliz (The Dead Man and Being Happy 2012), Santos, a dying hitman, goes on a journey from Buenos Aires to Northern Argentina that progressively acquires a symbolic meaning, as it is a journey from civilization to nature, from life to death, and, ultimately, from history to myth. The physical decline of Santos and his overcoming of physical death–and of linear time–through his transformation in myth, is parallel to a deconstruction of traditional cinematic language in the movie. Through a meta-reflective articulation of the road movie genre and through the distancing effect caused by the existence of two narrators who, competing with each other, simultaneously construct and deconstruct Santos’ story with their ironic and polysemic words, Rebollo attempts to reaffirm his position as a director-auteur, as the sole creator of an auteur myth (“mito de autor”) versus the traditional myth, oral and collective by nature.En El muerto y ser feliz (Javier Rebollo, 2012), Santos, un moribundo asesino a sueldo, inicia un viaje de Buenos Aires al norte de La Argentina que adquiere progresivamente un marcado carácter simbólico al ser un viaje de la civilización a la naturaleza, de la vida a la muerte, y, fundamentalmente, de la historia al mito. La creciente decadencia física del protagonista y la “superación” de su muerte —y del tiempo lineal—, a través de su eternización en mito es paralela a la deconstrucción del lenguaje cinematográfico convencional en la película en un intento de crear una retórica de la imagen cinematográfica desnaturalizada y basada en la contradicción y el sentido múltiple, especialmente en la articulación de la película a través de géneros como el de la "road movie" o "película de carretera," así como en el extrañamiento que produce la existencia de dos narradores en off que con su irónica palabra van construyendo y destruyendo, a veces simultáneamente, la historia de Santos que las imágenes muestran. El mito en El muerto y ser feliz se crea a partir de la palabra, y es en esa ambigua palabra en la que la realidad se abre a la interpretación, la historia a la leyenda. Esta mitificación de Santos se puede entender también, indirectamente, como un intento de convertir en mito la misma película en un proceso que, paradójicamente, reafirma a Rebollo como autor frente a la supuesta pluralidad semántica de la película y, sobre todo, frente al mito tradicional, oral y colectivo por naturaleza
El paraíso perdido: la adaptación a la pantalla de Las viudas de los jueves
Get PDFIn 2005, Claudia Piñeiro published Las viudas de los jueves, a novel about the life in “countries” (gated neighborhoods) in the greater Buenos Aires, and in 2009, Marcelo Piñeyro adapted it to the screen. Athough Mavi, a real estate agent, describes life there as a paradise, we see that problems and hypocrisy dominate throughout the film. Piñeyro utilizes various cinematographic techniques to underscore the economic dichotomy between the “inside” and the “outside” and to emphasize the themes of sex and death. Dudley Andrew emphasizes the importance of “the sociology and aesthetics of adaptation,” and Piñeyro’s film, just like the original novel, reflects what sociological studies by Svampa and Castelo reveal about life in the “countries.” In addition, the film is made in a moment in which Argentina’s economic problems continue. Although Piñeiro’s work is not a detective novel, the structure of the two texts have elements in common with that genre. Although the film version does not have the moral weight of the original narrative, the film makes us see that life in the “countries” can be paradise lost.En 2005, Claudia Piñeiro publica Las viudas de los jueves sobre la vida en los countries (barrios privados) del Gran Buenos Aires, y en 2009, Marcelo Piñeyro la adapta a la pantalla. Aunque Mavi, una agente inmobiliaria, describe la vida allí como un paraíso, a lo largo de la película vemos que lo que predomina son los problemas y la hipocresía. Piñeyro utiliza varias técnicas cinematográficas para destacar la dicotomía económica entre “adentro” y “afuera” y hacer hincapié en los temas del sexo y de la muerte. Dudley Andrew destaca la importancia de “the sociology and aesthetics of adaptation” y la película de Piñeyro, tanto como la novela original, refleja lo que los estudios sociológicos de Svampa y Castelo revelan sobre la vida de los countries. Además, el film se rueda en un momento en que continúan los problemas económicos argentinos. Aunque la obra de Piñeiro no es una novela negra, la estructura de los dos textos tiene elementos en común con la novela de detectives. Aunque el final de la versión fílmica no tiene el peso moral de la versión original, la película nos hace ver el paraíso perdido que es la vida en los countries. In 2005, Claudia Piñeiro published Las viudas de los jueves, a novel about the life in “countries” (gated neighborhoods) in the greater Buenos Aires, and in 2009, Marcelo Piñeyro adapted it to the screen. Athough Mavi, a real estate agent, describes life there as a paradise, we see that problems and hypocrisy dominate throughout the film. Piñeyro utilizes various cinematographic techniques to underscore the economic dichotomy between the “inside” and the “outside” and to emphasize the themes of sex and death. Dudley Andrew emphasizes the importance of “the sociology and aesthetics of adaptation,” and Piñeyro’s film, just like the original novel, reflects what sociological studies by Svampa and Castelo reveal about life in the “countries.” In addition, the film is made in a moment in which Argentina’s economic problems continue. Although Piñeiro’s work is not a detective novel, the structure of the two texts have elements in common with that genre. Although the film version does not have the moral weight of the original narrative, the film makes us see that life in the “countries” can be paradise lost
Enrique E. Cortez. Biografía y polémica: El Inca Garcilaso y el archivo colonial andino en el siglo XIX.
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Means of Production: Student Publications in the Albert Solheim Library at Pacific Northwest College of Art
Get PDFThe creation of books has long been a way for artists to explore different mediums and avenues for sharing their work, “getting art off the wall, out of the gallery, and into the hands of a wide, democratic, or populist audience” (White, 2012, p. 46). A book is generally cheap to design and produce, is relatively portable, and easy to interact with. Books offer both intimacy between creator and viewer and the feeling of sharing a wider experience with others. According to Suzy Taraba (2019), “contemporary artist’s books evolved from two divergent strains of antecedents: the fine press book and the democratic multiple” (p. 86), the latter becoming the predominant artists’ publication type in the 1960s and ‘70s. The contemporary art student’s publication is somewhat of a hybrid of the two. Often created in small editions with inexpensive materials, these publications may also utilize multiple laborious printmaking techniques such as letterpress, woodcut, or screen printing, and include one-of-a-kind details such as paintings, pop-ups, drawings, inserts, or detailed bindings. Many students build intricate enclosures for their work