Theatre scenes in medieval road-movies:
Iconographic hybridity, irony and secularity in John Huston's Walk whit the love and the death (1969)
DOI:
https://doi.org/10.24310/Eviternare.vi11.13984Keywords:
Film History, Medieval Theatre, Road-Movies, Iconography, John HustonAbstract
The insertion of theatrical scenes in film plots is generally of a programmatic nature, which is even more evident in the road-movie genre. We analyse the theatrical scene that appears in John Huston's Walk with the Love and the Death (1969), whose cinematographic sense is reinforced by the fact that it does not appear in the novel that inspired the film. We study the resources of the plot and the profile of the characters, such as the scenery and unique costumes, despite the exceptional nature of the scene. From the analysis, it can be seen how the stage representation largely fails to comply with the guidelines of medieval theatre even in its advanced stages, by emphasising secular symbolism over religious symbolism, by ironically relying on a story based on children's tales instead of an allegorical imaginary and, finally, by hybridising medieval themes with icons of the French Revolution and themes from later American literature. Such an antithesis reinforces, by contrast, the understanding of late medieval theatre.
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