{"title":"神话与灾难。维尔纳·赫尔佐格和当代拉丁美洲电影中的人物和风景","authors":"D. González","doi":"10.32870/CYS.V0I32.6952","DOIUrl":null,"url":null,"abstract":"The relationship between myth and catastrophe can help us to understand Werner Herzog’s cinematography. Taking this relationship as a reference, and analyzing character and landscape narrative, I will compare Herzog’s cinematography with some films coming from contemporary Latin-American cinema to show that, even if these films resound with the catastrophe language of the German director, they objectivize catastrophe to the extent of demystification.","PeriodicalId":35210,"journal":{"name":"Comunicacion y Sociedad","volume":"23 1","pages":"55-79"},"PeriodicalIF":0.0000,"publicationDate":"2018-03-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"Mito y catástrofe. Personajes y paisajes en Werner Herzog y el cine latinoamericano contemporáneo\",\"authors\":\"D. González\",\"doi\":\"10.32870/CYS.V0I32.6952\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"The relationship between myth and catastrophe can help us to understand Werner Herzog’s cinematography. Taking this relationship as a reference, and analyzing character and landscape narrative, I will compare Herzog’s cinematography with some films coming from contemporary Latin-American cinema to show that, even if these films resound with the catastrophe language of the German director, they objectivize catastrophe to the extent of demystification.\",\"PeriodicalId\":35210,\"journal\":{\"name\":\"Comunicacion y Sociedad\",\"volume\":\"23 1\",\"pages\":\"55-79\"},\"PeriodicalIF\":0.0000,\"publicationDate\":\"2018-03-06\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"Comunicacion y Sociedad\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.32870/CYS.V0I32.6952\",\"RegionNum\":0,\"RegionCategory\":null,\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"Q1\",\"JCRName\":\"Social Sciences\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"Comunicacion y Sociedad","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.32870/CYS.V0I32.6952","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"Q1","JCRName":"Social Sciences","Score":null,"Total":0}
Mito y catástrofe. Personajes y paisajes en Werner Herzog y el cine latinoamericano contemporáneo
The relationship between myth and catastrophe can help us to understand Werner Herzog’s cinematography. Taking this relationship as a reference, and analyzing character and landscape narrative, I will compare Herzog’s cinematography with some films coming from contemporary Latin-American cinema to show that, even if these films resound with the catastrophe language of the German director, they objectivize catastrophe to the extent of demystification.
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