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

mi traducción es: el enfoque en la interpretación creativa.

Breaking the presentation free from “deep views” changes everything. It not only creates the possibility of characters who can emotionally and intellectually turn on a dime (look at Freddie’s interaction with Jeannie at the end of the first long scene or Louise’s interaction with Chettie near the end of his scene with the women), changing their tones, and adjusting their relationships, virtually on a second-by-second timescale. “Intentions,” “motives,” and “goals” stand still or at least stabilize a viewer’s understanding in a way unanchored, unglossed performance does not. But THE FOCUS ON PERFORMANCE allows for a looser, baggier relation between expression and identity than the intentionally-organized film allows. In being denied deep views, a viewer almost never knows exactly “where the character is” in THE PERFORMANCE—or if the character is “in it” at all, or if the performance is a kind of avoidance of self-disclosure, more a mask to hide behind than an expression of his or her identity. Virtually the entire interaction between Richard and Maria in the dinner table scene (and most obviously all of their laughter) falls into this category, as does virtually everything McCarthy says and does in his scene (not least of all his interaction with Richard), and as does Richard’s behavior in the morning-after scene with Jeannie. Cassavetes has created an extremely complex expressive space, one of the most complex in all of film, where what a character says or does has the same kind of multi-valence, obliquity, and impenetrability as our most complex expressions outside the movies. In this world without clarifying depths, we can never really “know” a Cassavetes character the way we know most movie characters, we can only “get to know” them as we live with them in space and time. Faces is continues the exploration Cassavetes began in Shadows—a state of affairs in which the performed self has replaced the real one, in which laughter can become sadness, and everyone is yoked into a cycle of rivalry. Characters like Freddie, Richard, McCarthy, Louise, and Billy Mae have lost track of who they are and are imprisoned by their own ideas of who they are.