Perfumed Nightmare and Negative Experiences of Contrast: Third Cinema as Filmic Interpretation of Schillebeeck
In this paper I propose that the stylistic signature of a film may represent its theological meaning just as much as more apparent thematic/narrative considerations. For this purpose, I choose to analyze Perfumed Nightmare, a Filipino film (aka Mababangong Bangungot, directed by and featuring Kidlat...
| Κύριος συγγραφέας: | |
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| Τύπος μέσου: | Ηλεκτρονική πηγή Άρθρο |
| Γλώσσα: | Αγγλικά |
| Έλεγχος διαθεσιμότητας: | HBZ Gateway |
| Interlibrary Loan: | Interlibrary Loan for the Fachinformationsdienste (Specialized Information Services in Germany) |
| Έκδοση: |
2002
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| Στο/Στη: |
The journal of religion and film
Έτος: 2002, Τόμος: 6, Τεύχος: 1 |
| Διαθέσιμο Online: |
Volltext (kostenfrei) Volltext (kostenfrei) |
| Σύνοψη: | In this paper I propose that the stylistic signature of a film may represent its theological meaning just as much as more apparent thematic/narrative considerations. For this purpose, I choose to analyze Perfumed Nightmare, a Filipino film (aka Mababangong Bangungot, directed by and featuring Kidlat Tahimik, 1976, 91 min., color). This film, lensed originally on Super 8mm at minimal cost, has received critical praise. It was the winner of the Berlin Film Festival International Critics Award in 1977 and is classified under an evolving research category known as "Third Cinema". I present the argument that Perfumed Nightmare analyzed as Third Cinema, may provide a filmic interpretation of the eschatological concept of "Negative Experiences of Contrast" as proposed by the Roman Catholic theologian, Edward Schillebeeckx, O.P. |
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| ISSN: | 1092-1311 |
| Περιλαμβάνει: | Enthalten in: The journal of religion and film
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| Persistent identifiers: | DOI: 10.32873/uno.dc.jrf.06.01.03 |
