«Expressive movement» as the creation of super-authenticity in the cinema of K. Saura (using the example of the trilogy «Bloody Wedding», «Carmen», «Witchcraft Love»)
https://doi.org/10.69975/2074-0832-2024-60-2-95-106
Abstract
The article analyzes the creative features of Carlos Saura's style. The focus is on dance as a meaning-forming and aesthetic principle. The author of the article explores the issues of expressiveness of dance as an element of photogeny created in the film. Photogeny serves the director as an element that allows him to achieve, as the author of the study sees it, his main task – to erase the differences between the concepts of art and life. The photogeny of dance allows the film to show a certain super-authenticity, which includes various dimensions: from personal to national. Saura achieves a similar effect, among other things, with the help of «defamiliarizing» techniques, the use of which leads to the creation of a special chronotope that expresses that very super-authenticity, connecting both the real and the symbolic.
About the Author
Yu. O. Vinar
VGIK
Russian Federation
Russian Federation
Yulia O. Vinar, leading specialist of the Analytical Department of the Research Centre for Film Education and Screen Arts
AuthorID: 1176583
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Review
For citations:
Vinar Yu.O. «Expressive movement» as the creation of super-authenticity in the cinema of K. Saura (using the example of the trilogy «Bloody Wedding», «Carmen», «Witchcraft Love»). Vestnik VGIK. 2024;16(2(60)):95-106. (In Russ.) https://doi.org/10.69975/2074-0832-2024-60-2-95-106
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