Mysterious initial images, eventually will make sense, the destiny that outlines the romance between the two figures hidden in the basement, Igor, an unhappily man married to. Ernesto Contrerass talent is undeniable, but this film lacks of. A man and a woman who, they kiss in the darkness of a basement, with haste and fury, as if it was the end of the world. This scheme conformed by the processes of recognition, alignment, and allegiance applied to the film Las oscuras primaveras (Ernesto Contreras, 2014), as part of a theoretical methodological approach for the study of the construction of the imaginary of love in contemporary Mexican cinema, shows that affective mimesis has an extraordinary power to interrupt or change the moral reorganization of the narrative structure of a film, forcing the viewer to reflect on their moral judgments about it.Ĭinema and cognition mexican cinema emotion Ernesto Contreras melodrama. Ernesto Contreras delivered and delivered good. Murray Smith (2004), in his book Engaging Characters, has developed the “Structure of Sympathy”, a textual analysis system that allows explaining the emotional responses of viewers to fictional characters. 2021, vol.5, n.1, pp.135-150.Ĭognitive film studies are a research program that addresses various phenomena related to the viewer’s mental, emotional, and affective processes based on the interdisciplinary contributions between film theory and cognitive sciences. They engage in a series of (disappointingly clothed) sexual encounters in the office block basement, but both baulk at the. Both have humdrum home lives: she is a single mother living with her manipulative young son he has a dowdy, nervous wife. The “Structure of Sympathy” in Las oscuras primaveras. Working in the same block is Igor (Jos Mara Yazpik - a lived-in face but a powerful body).
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