I'm new to the list, so I say hello.
Then, I wanted to kindly ask if anyone know of a cinema study that
analyses a film poetic /persona/ , in the same sense that the term is
used in literary studies - passible of having rhetoric affections etc.
I mean the question thinking of what is other than the rest of the
narrative discourses that form what is called(not financially), a film;
whatever that sets the structure of the narration juxtaposed and not
implicated in 'written' narrator phrasing and 'wrote' character
interactions. As the /persona/ can have dubious and contrafactive
behavior, constructing a possible critical acknowledge that sets more
context than there was considered to reside on the /aliquid/ that is
marked as a film. For not to be too obscure, and as an example, I'm
thinking precisely about _Hiroshima mon Amour_ and how the images and
the text (I don't mean sound) interact as two separated series that
form, after this interaction, on a third moment, the film criticizable
sense - but never simultaneously as they occur. As opposed to Godard's
Alphaville, for instance, where the images seems to double a support
for most of the 'written' narrative propositions, in a sequence that
is: explicit sense - image - affection(residue or mannerism), where
simultaneity is an effect more than a medium(the inverse on _Hirosh._).
But, any interesting studies on _Hirosh._ are references I would be
pleased to know where to find. Especially if there is any on the
internet (or transmissible through it) because getting european or
north-american books here in Brazil is often a slow process.
Thanks,
Eduardo Cintra
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