NATIONAL AND UNIVERSAL IN THE CINEMATOGRAPHY: THE MEXICAN SCRIPT WORKS BY JOHN STEINBECK
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Abstract
The paper explores national and universal features of the Mexican screen versions of the works by J. Steinbeck and investigates his own scripts in chronological order: the documentary “Forgotten Village” directed by Herbert Kline, 1940; the screen version of the novel “The Pearl” by Emilio Fernandez, 1948; and the screenplay “Viva Zapata!” directed by Elia Kazan, 1952. The genesis of the author’s style and cinematographic methods are viewed in the research, national and universal cultural patterns are defined. The main patterns of the Mexican national dream as “peace”, “land”, “absence of separation”, “sentimental personal dream” (education, house and children) are represented in the paper. Fratricide and unity in the R. Emerson’s model «Over-Soul» are clearly marked as negative and positive models of behavior, which are necessary for the wealth and prosperity of society. The writer is considered the first who made an attempt to offer “peace” as a universal pattern of the national dream, which is in many ways ahead of his time.
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References
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