TY  - JOUR
A1  - Kurth, Sarah
T1  - La semiótica escenográfica en Todo lo demás (2016), de Natalia Almada
JF  - promptus - Würzburger Beiträge zur Romanistik
N2  - In the wake of the general tendency towards slow cinema which has been evolving in Mexican cinema, cinematographic devices have gained importance not only with regard to the construction of a persuasive narrative but also in terms of the aesthetic constitution of the movie itself. Not only is this observation evident in the absence of camera movements but also in the semiotic depth of mise en scène resulting from this circumstance. Natalia Almada’s movie Todo lo demás (2016) provides an impressive example of both the repercussions of this technique in the representation of loneliness as well as the suggestive power of the scenographical composition. Hence, the ensuing analysis of those scenes referring to water is to elucidate the semiotics of mise en scène and its influence on the representation of the main character and the repetitive routine constricting her freedom.
KW  - Mexican cinema
KW  - Todo lo demás
KW  - Natalia Almada
KW  - mise en scène
KW  - semiotics
Y1  - 2018
U6  - http://nbn-resolving.de/urn/resolver.pl?urn:nbn:de:bvb:20-opus-187979
SN  - 2364-6705
VL  - 4
ER  -