On the rigour of storytelling. About Invasión (Hugo Santiago, 1969)

Authors

  • Santos Zunzunegui Universidad del País Vasco

DOI:

https://doi.org/10.7203/eutopias.21.21263

Keywords:

Bioy Casares, Jorge Luis Borges, Hugo Santiago, fantastic cinema, cinema and the city, epic.

Abstract

The article analyses a film transposing a substantial part of Jorge Luis Borges’ universe while casting a new light on notions such as «political cinema», «epic» and «fantastique». A literary universe meets a refined vision of the art of cinematography derived directly from the teachings of Robert Bresson to propose an improbable encounter between the most refined asceticism and the strictest cultism. Invasión demands a spectator who does not shy away from understanding that the most classic is the most modern, and that transfers between the literary and cinematographic universes are only possible if one has first comprehended what is shared by both worlds. Invasión, a modern classic, is a film that is as European as it is Latin American, as porteño as it is universal.

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Author Biography

Santos Zunzunegui, Universidad del País Vasco

Santos Zunzunegui, MA degree in Economics from the University of Deusto and PhD in Communication from the University of the Basque Country (UPV/EHU), is Professor Emeritus of Audiovisual Communication and Advertising at the latter institution. He has been a visiting professor at various European and American universities (Caracas, Buenos Aires, Utah, Geneva, Siena, Paris III and l’École Normale Supérieure, among others). He has contributed to several specialised magazines ( La Mirada, Contracampo, Zer, Caimán. Cuadernos de cine ) and has published extensively on semiotics, image theory, museum studies, film theory and history and Spanish cinema. Among his recent publications, Metamorfosi dello sguardo (2011), Lo viejo y lo nuevo (2012), Bajo el signo de la melancolía (2017) and Ver para creer (2019).

References

Bibliografía esencial sobre Invasión


Textos sobre Invasión

Bioy Casares, Adolfo, Borges (edición al cuidado de Daniel Martino), Barcelona, Destino, 2006. 

Cozarinsky, Eduardo, «Invasión», en Borges en/y/sobre cine, Madrid: Fundamentos, 1981, pp. 123-127. 

Oubiña, David, «Monstrorum Artifex: Borges, Hugo Santiago y la teratología urbana de Invasión», en Variaciones Borges, n.º 8, 1999, pp. 69-81. 

Oubiña, David, «En los confines del planeta (el cine conjetural de Hugo Santiago)», en Filmología. Ensayos con el cine, Buenos Aires: Manantial, 2000, pp. 207-220 [también incluido en El cine de Hugo Santiago, pp. 76-84].

Oubiña, David (compilador), El cine de Hugo Santiago, Buenos Aires: Ediciones Nuevos Tiempos, 2002.

Oubiña, David, «El espectador corto de vista: Borges y el cine», en Variaciones Borges, n.º 24, 2007, pp. 133-152.

 

Entrevistas con Hugo Santiago

Badou, Jacques, CALAMA, Alain y GAYOT, Paul, «Invasion. Entretien avec Hugo Santiago», en Borges et le cinéma (Calama y Gayot, eds.), Reims: Maison de la Culture André Malraux, s/f. 

Langlois, Gérard, «Le fantastique, une manière de percer le réel», en Les lettres françaises, 27/I/1971.

Marcorelles, Louis, «Invasion: le grand enterrement de Buenos Aires», en Le monde, 21/I/1971.

Oubiña, D. y Aguilar, S., «Partituras», en El guion cinematográfico (Oubiña y Aguilar Comps.), Buenos Aires: Paidós/Universidad del Cine, 1997.

 

Textos de Jorge Luis Borges

Borges, Jorge Luis, Adolfo Bioy Casares. Los orilleros / El paraíso de los creyentes, Buenos Aires: Losada, 1955.

Borges, Jorge Luis, Adolfo Bioy Casares, Hugo Santiago, Les autres, París: Christian Bourgois, 1974.

Borges, Jorge Luis. Obras completas, 4 vols., Barcelona: EMECÉ, 1989–1996.

Borges, Jorge Luis. Obras completas en colaboración, Barcelona: EMECÉ, 1997

Published

2021-06-30

How to Cite

Zunzunegui, S. (2021). On the rigour of storytelling. About <em>Invasión</em> (Hugo Santiago, 1969). EU-topías. A Journal on Interculturality, Communication, and European Studies, 21, 37–63. https://doi.org/10.7203/eutopias.21.21263
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