Brother Carl by Susan Sontag

By Susan Sontag

In keeping with Edgardo Cozarinsky, the Argentine movie critic: "There is anything recognizably Scandinavian approximately Brother Carl: un-easy, complicated exchanges among its characters, with brooding, ever-present nature surrounding them. The interaction of formal speech and undeniable silence recollects Dreyer's Gertrud (rather than Bergman's The Silence and Persona). On nearer inspection, although, it really is not like the other Scandinavian movie. The miracles, in contrast to that during Dreyer's Ordet, aren't 'real' ones. yet they're the one sort those characters can have enough money. Brother Carl is an outsider's observation, with very own diversifications, on these motifs that filmgoers go together with the Scandinavian movie culture. and masses of its elusive fascination will depend on this versatile distance among fabric that could look ordinary and the clean glance that establishes its personal perspective."

Brother Carl used to be shot in and round Stockholm in 1970 and had its global superior on the Cannes movie competition in 1971. It was once indicates on the San Francisco, Chicago, and London movie gala's, and had its U.S. theatrical most efficient in 1972.

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The first thing one observes in both the dramatic and performance text are the characters in the middle of a dialogue. Any reference made to any event or reality previous to this situation is done by means of extra-referential anaphora. In the course of the dialogue, events may occur outside of the stage, and they too are referred to by means of this type of anaphora. This sort of anaphora is also recurrent in Mother Courage and her Children by Bertolt Brecht: YVETTE: [Comes panting in] They'll do it for two hundred if you make it snappy - these things change from one minute to the next.

165 (our translation). 80. ais", in Problemes de linguistigue generate, I, pp. 237-250. 81. "Pour une typologie des discours", in Langue, discours, societe. Pour Entile Benveniste, under the direction of Julia Kristeva, Jean-Claude Milner, Nicolas Ruwet (Paris: Editions du Seuil, 1975), pp. 85-121. 82. , p. 87 (our translation). 83. See chapter III of this book. 84. See Lire le theatre and L 'ecole du spectateur. 85. Litterature et signification (Paris: Librairie Larousse, 1967), p. 27 (our translation).

The enunciative situation of monologue is the same as for the deictics of the I/you, for monologue is simply an interiorized dialogue between an I-speaker and an I-listener that is more closely determined by deictics than in normal dialogue. There is an excellent example in Macias by the Chilean author, Sergio Marras. One quote should suffice to show what I mean: As a people/town we have stayed empty/vacant/unoccupied and history must continue. We must surpass ourselves to fill it with meaning like to many other towns.

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