Gabriel García Márquez and the Cinema: Life and Works
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"A unique and indeed indispensable addition to the critical literature on a writer of world importance." Gerald Martin, author of [i]Gabriel García Márquez: A Life Far from being an occasional occupation, García Márquez's film work forms an intrinsic part of his overall aesthetic and literary poetics.
The book's primary aim is to present a detailed study of García Márquez's wide-ranging filmography, which has never received a comprehensive, systematic analysis. Rocco argues that it should be recognised as an integral part of the author's narrative output, and brought into the mainstream of studies concerning his literary activity.
The first part of the book reconstructs the trajectory of García Márquez's career in cinema and his connections with the world of film.
The second part looks at all his screenplays on which actual films have been based. These are examined chronologically, but also analysed according to thematic and aesthetic concerns and placed in relation to the novels and short stories with which they are 'twinned'.
Alessandro Rocco is Researcher in Latin American Literature and Culture at the University of Bari, Italy Show less
decision probably reflected the publication’s militant character, its essentially political value justifying an editorial choice which in other cases García Márquez practically never favoured. In fact, this is the presentation to the public of a written film as a liter135 Gabriel García Márquez, Viva Sandino (Managua: Nueva Nicaragua, 1982), El asalto, operativo con que el Fsln se lanzó al mundo (Managua: Nueva Nicaragua, 1983) and El secuestro (Managua and Salamanca: Nueva Nicaragua/Lóguez,
dark elements that often feature in a fable. As we have already pointed out, the project of Eréndira went back to the end of the 1960s and was intended for a Venezuelan director. Then it passed into the hands of Ruy Guerra, one of the young creative minds behind the Cinema Novo movement: his film Os fuzis was one of the movement’s outstanding products.137 According to some remarks made by Ruy Guerra, the decision to involve him in the revived project dated from 1973 and reflected the author’s
inflicted on Juan. While the pharmacist’s account is delivered in a voice-off, what he is saying appears to be visualised on screen as if in flashback. But in reality these are actions taking place in the present, even if they are identical to the ones the pharmacist is narrating. It comes out that Julián is simply re-enacting the same provocations his father issued eighteen years 4 García Riera, Historia documental, p. 255. TIEMPO DE MORIR 49 earlier. The significance of the sequence
grandmother’s retinue. Eréndira’s stay in the convent is constructed as a symbolic process of discovery and elevation. The first images are mundane and violent: the heat of the fire in the oven, the harsh jobs of making cheese and doing the washing, the gloomy room where the sick nuns are busy sewing bridal dresses, the killing of the pig.26 Then comes the moment of sublime elevation when Eréndira, drawn 24 25 26 Alain Philippon, ‘Poésie en Contrabande’, Cahiers du cinéma, 354 (1983), 46–8.
realises that the miracle was the work of Margarito, who we see in close-up, against the large, arching pane of glass, bathed in white light, while an astonished Antonio exclaims: ‘This is your miracle, Margarito. You are the saint here!’ Thus Margarito’s interior strength has been released: not only does he prove capable of provoking supernatural phenomena, but he has the power to resolve the whole situation. When he gets home, he speaks to his daughter, beseeching and ordering her to wake up.