Homework / test English to Spanish Art/Literary Cinema, Film, TV, Drama cine

Cassavetes systematically and knowingly critiques his own emerging artistic formations and disrupts his work’s incipient resolutions in every scene in Faces. Every time a character or relationship is about to stabilize, congeal, or clarify around a tone, mood, or understanding, it is disturbed, disrupted, and the interpretive rug pulled out from under the viewer—not (and this is the first important difference from the theories of the deconstructionists) as evidence of a loss, a sad fall from a premised PRELAPSARIAN state of expressive innocence and imaginative wholeness, but as a joyous, exciting celebration of artistic and personal power—of the power of the artist, his work, and the characters in it to swerve away from and elude each successive interpretive trap set for him and it, to break out of every and any conceptual prison. The second important difference from the theories of the theorists is that notwithstanding the euphoric and celebratory aspects of this process in Cassavetes’ work and American art more generally, these imaginative shifts and swerves are not fundamentally acts of frivolousness, playfulness, and game-playing. They are deadly serious presentations of imaginative situations with life-and-death consequences.