L' iconoclasme poetique: modalites de deconstruction et de reconstruction d'un texte culturel et filmique
- Statement of Responsibility:
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Poirson Dechonne, Marion
- Hlavní autor:
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Poirson Dechonne, Marion
We do not have a clear identifier or note about this person. You can try to get more information using external search engines:
- Formát:
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Journal article
- Jazyk:
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French
- Forma / Žánr:
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text (article)
- Vydáno:
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2017
- V:
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Sociocriticism ISSN 0985-5939 Vol. 32, Nº. 2, 2017 (Ejemplar dedicado a: Sujeto Cultural/Leer las Américas), pags. 213-241
- Předmětová hesla:
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- Annotation:
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Raoul Ruiz and Alexandre Jodorowski have questioned the cultural text of the colonization of America in their films. The first one, in The Suspended Vocation, by the demolition of a theological part of speech which tended to legitimize the conquista and its consequences; the second, in The Holy Mountain, by a shaping mise en abyme, who brings into conflict, as a bloody fight, toads representing conquistadores, and chameleons represented the Indians. In these two movies, the political meaning of the narrative comes along with a demolition of this one, associated with a particular form of iconoclasm, which constitutes a questioning of the initial cultural text and its representation in images. These directors at the same time revisit a second cultural text, that of the life as a dream and of the theatrum mundi, which also questions the reality of the image. Finally, this destruction allows a transfer of the sacred to the art; the ruizian shamanism and the jodorowskian syncretism tending to be substituted for the Christian religious imaging.
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| 520 | 3 | \ | |a Raoul Ruiz and Alexandre Jodorowski have questioned the cultural text of the colonization of America in their films. The first one, in The Suspended Vocation, by the demolition of a theological part of speech which tended to legitimize the conquista and its consequences; the second, in The Holy Mountain, by a shaping mise en abyme, who brings into conflict, as a bloody fight, toads representing conquistadores, and chameleons represented the Indians. In these two movies, the political meaning of the narrative comes along with a demolition of this one, associated with a particular form of iconoclasm, which constitutes a questioning of the initial cultural text and its representation in images. These directors at the same time revisit a second cultural text, that of the life as a dream and of the theatrum mundi, which also questions the reality of the image. Finally, this destruction allows a transfer of the sacred to the art; the ruizian shamanism and the jodorowskian syncretism tending to be substituted for the Christian religious imaging. |
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| 540 | \ | \ | |a LICENCIA DE USO: Los documentos a texto completo incluidos en Dialnet son de acceso libre y propiedad de sus autores y/o editores. Por tanto, cualquier acto de reproducción, distribución, comunicación pública y/o transformación total o parcial requiere el consentimiento expreso y escrito de aquéllos. Cualquier enlace al texto completo de estos documentos deberá hacerse a través de la URL oficial de éstos en Dialnet. Más información: https://dialnet.unirioja.es/info/derechosOAI | INTELLECTUAL PROPERTY RIGHTS STATEMENT: Full text documents hosted by Dialnet are protected by copyright and/or related rights. This digital object is accessible without charge, but its use is subject to the licensing conditions set by its authors or editors. Unless expressly stated otherwise in the licensing conditions, you are free to linking, browsing, printing and making a copy for your own personal purposes. All other acts of reproduction and communication to the public are subject to the licensing conditions expressed by editors and authors and require consent from them. Any link to this document should be made using its official URL in Dialnet. More info: https://dialnet.unirioja.es/info/derechosOAI |
| 650 | |a Texto cultural | ||
| 650 | |a modelización | ||
| 650 | |a derribo | ||
| 650 | |a transferencia | ||
| 650 | |a iconoclasta | ||
| 650 | |a Alejandro Jodorowsky | ||
| 650 | |a Raoul Ruiz | ||
| 650 | |a cine | ||
| 650 | |a Texte culturel | ||
| 650 | |a modélisation | ||
| 650 | |a déconstruction | ||
| 650 | |a transfert | ||
| 650 | |a iconoclasme | ||
| 650 | |a Alexandre Jodorowsky | ||
| 650 | |a Raoul Ruiz | ||
| 650 | |a filme | ||
| 650 | |a Cultural text | ||
| 650 | |a modelisation | ||
| 650 | |a demolition | ||
| 650 | |a transfer | ||
| 650 | |a iconoclasm | ||
| 650 | |a Alejandro Jodorowsky | ||
| 650 | |a Raoul Ruiz | ||
| 650 | |a cinema | ||
| 655 | \ | 4 | |a text (article) |
| 773 | |t Sociocriticism |x 0985-5939 |g Vol. 32, Nº. 2, 2017 (Ejemplar dedicado a: Sujeto Cultural/Leer las Américas), pags. 213-241 | ||
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| 995 | \ | \ | |a Biblioteca Nacional de España |
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