Aro Tolbukhin and the overlapping of ficcional levels
This article works with the atypical film Aro Tolbukhin: Dins la Ment de l’assassí (2002) directed by Agustí Villaronga, Lydia Zimmermann and Isaac P. Racine. In light of an event presented as historical, and constructed according to the codes of the documentary genre conventions, this analysis addr...
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| Tipo de recurso: | artículo |
| Estado: | Versión publicada |
| Fecha de publicación: | 2014 |
| País: | México |
| Institución: | UNIVERSIDAD DE GUADALAJARA |
| Repositorio: | Comunicación y Sociedad |
| Idioma: | español |
| OAI Identifier: | oai:comunicacionysociedad.cucsh.udg.mx:article/51 |
| Acceso en línea: | https://www.comunicacionysociedad.cucsh.udg.mx/index.php/comsoc/article/view/51 |
| Access Level: | acceso abierto |
| Palabra clave: | Genre false documentary reality documentary fiction Género falso documental realidad documental ficción |
| Sumario: | This article works with the atypical film Aro Tolbukhin: Dins la Ment de l’assassí (2002) directed by Agustí Villaronga, Lydia Zimmermann and Isaac P. Racine. In light of an event presented as historical, and constructed according to the codes of the documentary genre conventions, this analysis addresses the complex articulation among different fictional layers. Enunciated from diverse superimposed perspectives from non-chronological uses that manifest a new narrative mode within the outlook of Spanish cinema, these fictional levels entangle with each other based on a lens where the idyllic combines with the atrocious. |
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