By Sheila Callaghan
Comedy / 2m, 3f / easy Set A scream is heard during the stratosphere. it's the voice of the lamp. Louise is promoting this pricey kin heirloom to maintain her daughter April in class and stop her extra sordid "consultant" occupation. April rushes domestic with lover in tow to halt the complaints and keep the lamp, however it has been intercepted by means of a quiet and weird middle-aged couple with a haunting mystery. makes an attempt to reclaim the lamp are made, as a lost father slowly fades to white within the historical past. "...A gutsy author with a present for developing vibrant pictures rooted within the emotional lifetime of her characters." - the recent York occasions "...Troubled and precocious university dropout April is defined to her mom, Louise, as 'stunningly great' - a line that matches her writer, Sheila Callaghan. The atypical characters populating move slowly, Fade to White frantically consume dust and twist menacingly. Audiences attempting to procedure this engagingly quirky new play may locate themselves gaping 'like they are staring at the cosmos disrobe.'" - outing ny
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Ed. Paulo A. Paranaguá. London: British Film Institute, 1995. Print. Pilcher, Jeffrey M. Cantinflas and the Chaos of Mexican Modernity. Wilmington: SR Books, 2001. Print. 28 JUAN POBLETE Posadas, Abel. Niní Marshall. Desde un ayer lejano. Buenos Aires: Ediciones Colihue, 1993. Print. Schumann, Peter B. Historia del cine latinoamericano. Buenos Aires: Legasa, 1987. Print. Shaw, Lisa and Stephanie Denison. Brazilian National Cinema. London: Routledge, 2007. Print. Stott, Andrew. Comedy. London: Routledge, 2005.
The father’s response (“En Sol ”) functions as a tag to the joke. Sol is a homonym, designating in this instance both the musical note as well as the proper name of his love object. The interruption and elaboration of enunciative time results in a synchronous moment of homonymous equivocation. In the above joke structure, we can note how multiple temporalities are generated by the stutter, and a circular and linear temporality coexist: what appears to be repetition or a temporal loop proves to be a sequence of musical notes, only to culminate with a beat that functions as both the closure of the temporal loop and the continuation of a sequence, marked perhaps by Sandrini’s response, “Sí ”—both the Spanish word for yes and yet another musical note.
These early films offer several examples of suggestive discontinuities— jump cuts that fracture continuous space and time in a mode that is not necessarily disorienting but arguably forces the viewer to re-place herself in moving reality. In Don Quijote del Altillo (Manuel Romero, 1936), Sandrini continues building his persona of an idle if well-intentioned, 36 NILO FERNANDO COURET unattractive if decent young man living hand to mouth. His character, Eusebio, is unemployed and three months late on the rent on his altillo —an attic studio apartment.