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Please use this identifier to cite or link to this item: https://hdl.handle.net/2445/229004
La sustancia de los sueños. El cine según Claude Lévi-Strauss
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[spa] Dentro de la teoría estética difusa que puede hallarse en su obra, Claude Lévi-Strauss no asigna al cine un lugar central, lo que no impide que, en cuanto tiene oportunidad, remita al cinematógrafo para ilustrar teorías suyas como las relativas a la relación entre mito y rito o a la eficacia y la función simbólicas. Más allá, o acaso antes, Lévi-Strauss reconoce con el cine –y en particular con el cine clásico americano- una afinidad que no es sólo teórica o estética, sino biográfica e incluso vital, en la medida que le permite acceder a una cierta verdad elemental, de la que las imágenes en movimiento sobre la pantalla serían vehículo y cuya materia primera sería la acción.
[eng] Within the diffused aesthetic theory that one can find in his work, Claude Lévi-Strauss does not give cinema a prime position, which nevertheless does not prevent him, as soon as he has the chance, to refer to the cinematographer to illustrate his theories, such as those regarding the relationship between myth and ritual, or the symbolic efficacy and function. Beyond this, or perhaps before, Lévi-Strauss acknowledges an affinity with cinema, and particularly classical American cinema, that is not only theoretical or aesthetical, but biographical and even vital, to the extent that it allows him access to a certain elemental truth, within which the images moving on the screen would be the vehicle and the rough material would be the action.
[eng] Within the diffused aesthetic theory that one can find in his work, Claude Lévi-Strauss does not give cinema a prime position, which nevertheless does not prevent him, as soon as he has the chance, to refer to the cinematographer to illustrate his theories, such as those regarding the relationship between myth and ritual, or the symbolic efficacy and function. Beyond this, or perhaps before, Lévi-Strauss acknowledges an affinity with cinema, and particularly classical American cinema, that is not only theoretical or aesthetical, but biographical and even vital, to the extent that it allows him access to a certain elemental truth, within which the images moving on the screen would be the vehicle and the rough material would be the action.
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DELGADO, Manuel. La sustancia de los sueños. El cine según Claude Lévi-Strauss. Historia. Antropología y Fuentes Orales. Vol. 2010, num. 43, pags. 57-68. ISSN 1136-1700. [consulted: 14 of June of 2026]. Available at: https://hdl.handle.net/2445/229004