Download Faustina by Jakob Wassermann PDF

Download Faustina by Jakob Wassermann PDF

By Jakob Wassermann

Vor Jahren hatte in einem geselligen Kreis, in dem ich damals verkehrte, die junge C. viel Aufsehen gemacht. Abkömmling einer alten Adelsfamilie, hatte sie sich, kaum zwanzig Jahre alt, von dem Zwang und Drill ihrer Welt befreit, um, wie sie sich ausdrückte, ‚selbst‘ zu leben. Die Ungebundenheit ihrer Lebensführung battle in der Tat erstaunlich … In dieser Zeit näherte ich mich ihr. Wir hatten uns ziemlich viel zu sagen. Faustina, so wurde sie meist kurzweg genannt, conflict geistreich, und used to be mehr ist, ihr Geist hatte Fundamente." Dann verschwindet sie urplötzlich und es dauert einige Zeit, bis der Erzähler sie zufällig auf der Straße wiedertrifft. Kurze Zeit später erhält er ein Billet von ihr mit der Aufforderung, sie zu einer bestimmten Abendstunde zu besuchen. In einer Vorstadtpension trifft er sie und dort ist es, dass sich zwischen beiden ein ganz einzigartiges Gespräch über die Liebe entwickelt. Zum Abschied reicht er ihr die Hand. "Sie sah mich an, und wundersam, ihr Auge battle voll Fragen wie das eines kleinen Mädchens." Zwei Tage später ist sie aus der Pension verschwunden.

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Ay, Pepita, no me dejes . ” The man in the grey suit stops his conversation to dance in place, topping off a few steps with a graceful, half-time turn, arm flexed over head. Patrons wander in front of the camera. The guiro appears. Leaning against the bar, an off-duty cook in a stained white shirt looks on as he exhales smoke through his nose. The moving arms of the man in the grey suit return. Two men converse at the bar, their faces inches apart. “Pues si tú no me quieres, yo me voy . ” 9 A man claps along enthusiastically as the conguero executes a thunderous roll.

She challenges us with a defiant stare. A four-second freeze-frame on her face suspends this segment’s closure. Is she our mirror image? Or is she another? Are we part of the crowd? Or are we out of place? M. 19 The multiple angles, their editing, and the apparently staged murder depicted, evoke fiction. The event exudes, however, a certain authenticity that suggests documentary. Little suggests, in fact, that that this is not an actual performance by Pello el Afrokán (Pedro Izquierdo). 20 The crux of this tension between fictional and documentary registers here rests upon the participation of non-professional actors—not only the public, but also Pello el Afrokán, whose prominence in the period complicates his insertion into this film’s narrative.

Detroit: Wayne State University Press, 1997. 1057/9780230622159 - Visual Synergies in Fiction and Documentary Film from Latin America, Edited by Miriam Haddu and Joanna Page On the Margins of Reality: Fiction, Documentary, and Marginal Subjectivity in Three Early Cuban Revolutionary Films Dylon Robbins La nuestra es una realidad rica, constante, en movimiento, vivimos en un país en Revolución y hacemos cine documental: una generación de realizadores que se forma en una industria surgida de la Revolución.

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