Idyllic Self in Africa (2000), by Ken Taylor and in Boy (2010), by Taika Waititi: a literary-cinematographic dialogue
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| Natura: | Artículo científico |
| Lingua: | en |
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Universidade Estadual de Maringá
2019
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| _version_ | 1876470753852915712 |
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| author | Marcele Aires Franceschini |
| author_facet | Marcele Aires Franceschini |
| contents | Idyllic Self in Africa (2000), by Ken Taylor and in Boy (2010), by Taika Waititi: a literary-cinematographic dialogue Marcele Aires Franceschini Lengua y Literatura Poetry cinema idyllic dialogues sensations The idyllic approach of this article deals with the dialogue between two distinct artworks: poems from the book Africa (Taylor, 2000), emphasizing the poem ‘Waikiki’, by the Australian poet, journalist and filmmaker Ken Taylor; and the movie Boy (Curtis, Gardiner, & Michael, 2010), directed by the New Zealander film-director, actor and writer Taika Waititi. The poems and the movie are connected by synesthetic perceptions, mostly related to painting, colorizing and shaping that are displayed in the described scenarios. Hereby, these aspects were theoretically reviewed by the following authors: Rimbaud (1966), Kandinsky (1977), Ostrower (1977), Bachelard (1986, 2011), Cytowic (1993), Berger (2008), Lambert (2010), among others. The method of analysis includes the concepts in which the art producers uncovers the relationship between nature and the self, considering the fact that beyond poet and director, respectively Taylor and Waititi are also painters. Nature is widely open before their meditative eyes, therefore rather than outreaching the natural world with motionless expectations; both portray idyllic wonders related to individual/cultural scopes. As a result, from its amorphous state, words transmute themselves into landscapes, sensations, and forms. The aim was to follow the paths that image evocates in the description of each author, since they share contemplativeness, surrounded by consciousness, perceptions and freedom, all demanded during the creative process. 2019 artículo científico 1983-4675 https://www.redalyc.org/articulo.oa?id=307462019004 https://www.redalyc.org/journal/3074/307462019004/ https://www.redalyc.org/journal/3074/307462019004/html/ https://www.redalyc.org/journal/3074/307462019004/307462019004.epub https://www.redalyc.org/journal/3074/307462019004/movil https://doi.org/10.4025/actascilangcult.v41i2.45306 en http://www.redalyc.org/revista.oa?id=3074 Acta Scientiarum. Language and Culture application/pdf Universidade Estadual de Maringá Acta Scientiarum. Language and Culture (Brasil) Num.2 Vol.41 |
| format | Artículo científico |
| id | redalyc_307462019004 |
| institution | Redalyc |
| language | en |
| publishDate | 2019 |
| publisher | Universidade Estadual de Maringá |
| spellingShingle | Idyllic Self in Africa (2000), by Ken Taylor and in Boy (2010), by Taika Waititi: a literary-cinematographic dialogue Marcele Aires Franceschini Lengua y Literatura Poetry cinema idyllic dialogues sensations Idyllic Self in Africa (2000), by Ken Taylor and in Boy (2010), by Taika Waititi: a literary-cinematographic dialogue Marcele Aires Franceschini Lengua y Literatura Poetry cinema idyllic dialogues sensations The idyllic approach of this article deals with the dialogue between two distinct artworks: poems from the book Africa (Taylor, 2000), emphasizing the poem ‘Waikiki’, by the Australian poet, journalist and filmmaker Ken Taylor; and the movie Boy (Curtis, Gardiner, & Michael, 2010), directed by the New Zealander film-director, actor and writer Taika Waititi. The poems and the movie are connected by synesthetic perceptions, mostly related to painting, colorizing and shaping that are displayed in the described scenarios. Hereby, these aspects were theoretically reviewed by the following authors: Rimbaud (1966), Kandinsky (1977), Ostrower (1977), Bachelard (1986, 2011), Cytowic (1993), Berger (2008), Lambert (2010), among others. The method of analysis includes the concepts in which the art producers uncovers the relationship between nature and the self, considering the fact that beyond poet and director, respectively Taylor and Waititi are also painters. Nature is widely open before their meditative eyes, therefore rather than outreaching the natural world with motionless expectations; both portray idyllic wonders related to individual/cultural scopes. As a result, from its amorphous state, words transmute themselves into landscapes, sensations, and forms. The aim was to follow the paths that image evocates in the description of each author, since they share contemplativeness, surrounded by consciousness, perceptions and freedom, all demanded during the creative process. 2019 artículo científico 1983-4675 https://www.redalyc.org/articulo.oa?id=307462019004 https://www.redalyc.org/journal/3074/307462019004/ https://www.redalyc.org/journal/3074/307462019004/html/ https://www.redalyc.org/journal/3074/307462019004/307462019004.epub https://www.redalyc.org/journal/3074/307462019004/movil https://doi.org/10.4025/actascilangcult.v41i2.45306 en http://www.redalyc.org/revista.oa?id=3074 Acta Scientiarum. Language and Culture application/pdf Universidade Estadual de Maringá Acta Scientiarum. Language and Culture (Brasil) Num.2 Vol.41 |
| title | Idyllic Self in Africa (2000), by Ken Taylor and in Boy (2010), by Taika Waititi: a literary-cinematographic dialogue |
| topic | Lengua y Literatura Poetry cinema idyllic dialogues sensations |
| url | https://www.redalyc.org/articulo.oa?id=307462019004 https://www.redalyc.org/journal/3074/307462019004/ https://www.redalyc.org/journal/3074/307462019004/html/ https://www.redalyc.org/journal/3074/307462019004/307462019004.epub https://www.redalyc.org/journal/3074/307462019004/movil https://doi.org/10.4025/actascilangcult.v41i2.45306 |