English (United Kingdom)

https://curated-unify.zendy.io/wp-json/zendy-region/v1/featured_content/oa?rat=en

https://curated-unify.zendy.io/wp-json/zendy-region/v1/highlighted_journal/

Global: Zendy Plus annual

Presents the access of premium content as premium feature

Premium Content

Presents the keyphrase highlighting as premium feature

Keyphrase Highlighting

Presents the summarisation as premium feature

Summarisation

Insights

Presents the pdf analysis as premium feature

PDF Analysis

Presents the zaia usage as premium feature

ZAIA

Global: Zendy Tools annual

Global: Zendy Free Plan

Global: Zendy Tools monthly

Global: Zendy Plus monthly

The framework of this article is the intersection between the poetic and the cinematographic language which Gustavo Fontán explains theoretically referring to the amplification of sense produced by the ever possible overlapping of these two worlds. Moreover, he formulates the concept of «poetic principle» in order to speak of the discovery in terms of the image that determines the creation of a film. I will analyze particularly the intertwining of J. Fijman’s poetic world and G. Fontán’s short film, Canto del Cisne. I will consider some of the discursive strategies of each language to show evidence of the conjunction of the two worlds. The entrance will be the paratext, the title, Canto del Cisne, as a myth in which art, self-surrender, sacrifice, pain, exile, and death flow together. The film, though brief, shows the complexity of Fijman’s poetry, where the inner path is nevertheless related to the search for alterity, comunication and knowledge of oneself and others, where pain is supposed to be an access to the sacred, and madness and visionary lucidity coexist in constant tension. This article is supported by extratextual material, an interview given by the director, in order to complete this comparative study.

De la poesía de Jacobo Fijman al cine de Gustavo Fontán. Canto del cisne: renuncia, dolor y sacralidad en la visión del otro