La estética del realismo maravilloso americano en la puesta en escena del mediometraje Marfova

Abstract

This monograph seeks to study the aesthetics of American marvellous realism, as well as to differentiate the labels of magical realism and the marvellous real and to analyze its aesthetic characteristics through films that use this resource as a proposal for a mise-enscène. The main authors we will take are: Camayd-Freixas with Realismo mágico y primitivismo (1998), Alicia Llarena with Claves para una discusión: El "Realismo mágico" y "Lo real maravilloso americano" (1996) and Irlemar Chiampi with O realismo maravilhoso americano. Forma e Ideologia no Romance Hispano˗Americano (1980) whom give solid arguments regarding magical realism, the Real American Marvellous, and American Marvellous Realism, respectively; likewise a brief review is given on Latin American cinema with respect to such aesthetics with information provided by José María Paz in Escritores de cine. Nuevo cine y nueva narrativa latinoamericana (2000) and by Pedro Aguayo de Hoyos with Alejo Carpentier en el cine latinoamericano (2019); we also study the concept of mise en scène both with El cine y la puesta en escena (2013) by Jacques Aumont, and in the doctoral thesis El regreso de la puesta en escena cinematográfica como concepto teórico en los inicios del siglo XXI (2018), made by Miguel Navarro de Palencia, where he summarizes and compiles several authors and books with respect to Jacques Aumont's term. The methodology with respect to filmic analysis we make use of Seymour Chatman's method History and Discourse. The narrative structure in the novel and in the cinema (1990) that proposes a line of analysis of both form and substance of content, which we apply on three films where the aesthetics of marvellous realism is also treated. This study demonstrates the versatility of marvellous realism as an aesthetic proposal for a mise-en-scène, as well as providing theoretical information on this subject for all Latin American cinema