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n Tydskrif vir Geesteswetenskappe - Deiktiese patrone in die verfilming van J.M. Coetzee se (2008). Deel 2 : navorsings- en oorsigartikels

Volume 56 Number 3
  • ISSN : 0041-4751
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Abstract


In this second part of the article, the focus will be on the film version of (2008). The narrative situation in the Afrikaans traditional farm novel is that of an omniscient narrator. In the novel the narration is that of figural narration in the sense that the perspective is that of the main character, David Lurie. The filmic version of is also in the main the subjective perspective of David Lurie. Through this perspective the spectator becomes part of Lurie's chaotic universe and thus shares the main character's traumatic personal experiences charged with existential anguish. In the older farm novel and film it is usually suggested that the farm is the centre of the universe, from which a son or daughter leaves for the city in search of a better life. Yet the farm is also the place to which one may return; the narrative structure is therefore cyclical and typical of this archetypal structure of becoming, evolution and acquisition. In one finds exactly the opposite: the narrative structure is indicative of : , , and . (This can include material things like status, position and affluence but also pride, love, happiness and security). The farm is no longer a safe, impenetrable haven; it is a place of departure rather than sojourn. In this second part of the article we will emphasise the way in which the cinematic elements of the film convey these different messages, not only by focussing, for example, on the interaction of characters, but rather the manner in which the camera can be manipulated.

In hierdie tweede deel van die artikel staan die verfilming van J.M. Coetzee se gelyknamige roman sentraal. Die vertelsituasie in die tradisionele Afrikaanse plaasroman is die ouktoriële (ook bekend as die alwetende) verteller. In die verfilming van word telkemale gefokus uit die subjektiewe perspektief (in die prosa-teorie staan dit bekend as die vertelswyse) van David Lurie. Daardeur staan die gebrek aan logika voorop; die traumatiese persoonlike ervarings van 'n buitestaander- individu belas met eksistensiële angs. In die ouer plaasroman en film word gewoonlik gesuggereer dat die plaas die sentrum van die universum is: daarvandaan word vertrek (gewoonlik deur 'n seun of dogter wat hulle heil in die stad gaan soek), maar daarheen sal ook teruggekeer word; die narratologiese struktuur is daarom ook siklies en tipies van hierdie grondpatroon van , en . In vind presies die teenoorgestelde plaas: die narratologiese struktuur dui eerder op : ; , en staan voorop (hier van materiële dinge soos status, posisie, maar ook van trots, liefdesgeluk én geborgenheid). Die plaas is geen veilige ruimte meer nie; dit word plek van eerder as ; die lokale word omvorm en wyk voor die . In die artikel sal gekonsentreer word op die wyse waarop die kinematografiese elemente van die film hierdie onderskeie boodskappe tuisbring, nie net deur handelingspatrone nie, maar veral deur die wyse waarop die kamera gemanipuleer word.

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/content/akgees/56/3/EJC194341
2016-09-01
2019-08-24

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