Fernando Gómez Beceiro, N. A. Ramos, J. L. C. D. Paz
{"title":"BILOGÍA FÍLMICA MACHADIANA: LA SOMBRA DE CAÍN SOBRE LA ¡HERMOSA TIERRA DE ESPAÑA!","authors":"Fernando Gómez Beceiro, N. A. Ramos, J. L. C. D. Paz","doi":"10.5944/SIGNA.VOL30.2021.26474","DOIUrl":null,"url":null,"abstract":"Abstract: Just after the eightieth anniversary of death of Antonio Machado, we turn our attention to two films whose speeches gravitate a deep immersion in his work and his personality. Directed by Arturo Ruiz- Castillo between the summer of 1952 and the spring of 1953, La laguna negra emerges as transposition of a romance of the Sevillian poet, while the post-war account Dos caminos seem to be nourished by a dense allegorical invocation of Machadian thought. Scarcely known and barely considered by historiography film, both films make up an unmistakable biology with an unusual semantic density that needs to be vindicated urgently.","PeriodicalId":54036,"journal":{"name":"Signa-Revista de la Asociacion Espanola de Semiotica","volume":"144 1","pages":"473-499"},"PeriodicalIF":0.1000,"publicationDate":"2021-01-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":null,"platform":"Semanticscholar","paperid":null,"PeriodicalName":"Signa-Revista de la Asociacion Espanola de Semiotica","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.5944/SIGNA.VOL30.2021.26474","RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"0","JCRName":"HUMANITIES, MULTIDISCIPLINARY","Score":null,"Total":0}
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Abstract
Abstract: Just after the eightieth anniversary of death of Antonio Machado, we turn our attention to two films whose speeches gravitate a deep immersion in his work and his personality. Directed by Arturo Ruiz- Castillo between the summer of 1952 and the spring of 1953, La laguna negra emerges as transposition of a romance of the Sevillian poet, while the post-war account Dos caminos seem to be nourished by a dense allegorical invocation of Machadian thought. Scarcely known and barely considered by historiography film, both films make up an unmistakable biology with an unusual semantic density that needs to be vindicated urgently.
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