The portraits of conflict in the film Oriana
The portraits in the film Oriana (Torres, 1985) are signs of conflict that show a form of thought that goes through the characters in the story and trigger a fatal outcome that marks them for life. The goal of this analysis is to identify the signs, the forces and tensions that occur and could expla...
| Autor Principal: | Gasca Bazurto, Luis Fernando |
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| Formato: | info:eu-repo/semantics/article |
| Idioma: | spa |
| Publicado: |
Universidad Santo Tomás, Bogotá, Colombia
2016
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| Materias: | |
| Acceso en línea: |
http://revistas.usta.edu.co/index.php/analisis/article/view/2683 |
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| Sumario: |
The portraits in the film Oriana (Torres, 1985) are signs of conflict that show a form of thought that goes through the characters in the story and trigger a fatal outcome that marks them for life. The goal of this analysis is to identify the signs, the forces and tensions that occur and could explain the events and the outcome of the story. To do so, the analysis of two portraits presented in the film is proposed. The first one is the pictorial portrait of the father that is based on the description by Moreno (1975), but represented in a distinct way and defined to a different space, in comparison with the text. The second is the family photograph that opens the film, preceded by the events that occurred during the shooting. Those pictures expose relationships of power and domination of the father over his family that caused the transgression of the established order. |
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