Fresa y Chocolate and Guantanamera
An Analysis on the Intertextuality Inside the Works Codirected by Tomás Gutiérrez Alea and Juan Carlos Tabío
DOI:
https://doi.org/10.35699/2317-2096.2020.25637Keywords:
Tomás Gutiérrez Alea, Juan Carlos Tabío, Cuban cinema, narrative analysisAbstract
This article aims to analyze how intertextual elements compose and impact the film narratives in Fresa y Chocolate (1993) and Guantanamera (1995), both Cuban productions codirected by Tomás Gutiérrez Alea and Juan Carlos Tabío. For the analysis, Edgar-Hunt, Marland and Rawle (2013) were taken as reference in order to understand how intertextuality occurs in Cinema and in which categories it is divided. Thus, it was possible to verify that, despite being directed by the same duo, the films make different appropriations of intertextuality as a way of structuring the narrative. While Fresa is mostly composed of intertextual elements, which permeate cinema, music, literature and visual and fine arts, Guantanamera appropriates very little of those elements in order to elucidate internal references to the film itself and the authors’ cinematography.
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