Noninflammable film, or, the roman vague
DOI:
https://doi.org/10.24310/TRANS.2017.v0i21.3636Keywords:
Don Quixotte, Nouvelle Vague, Book object, Iconography, Filmic mediumAbstract
This article proposes a transversal approach to the cinematographic presence of Don Quixote (both the novel and the theme). It is not as much centered on conventional adaptations as on the redefinition of its textual and poetic legacy carried out by Nouvelle Vague authors like Jean-Luc Godard, Jacques Rivette, François Truffaut o Éric Rohmer, a generation brûlée by their literary and cinematographic passion. The warp and weft of this reflection is constituted by a chain that links the iconographic schema of the burned out book object to the paradoxic rewriting that fire makes of Cervantes’s work in G. B. Pabst’s Don Chisciotte (1933), and to the quixotesque will of the filmic medium itself, represented by the unfinished Quijote of Orson Welles (1957-1985), which are all presided over by the flammable nature of old cinema and old books (Fahrenheit 451, book and film).
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