By Jon Tisdall
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Additional resources for Benko (Volga) Gambit A57-A59
Road Movies. In Directory of World Cinema: Brazil, ed. Louis Bayman, and Natália Pinazza, 252–271. Bristol & Chicago: Intellect/University of Chicago Press. Pinazza, Natália. 2014. Journeys in Argentine and Brazilian Cinema. Road Films in a Global Era. New York & Basingstoke: Palgrave Macmillan. Pohl, Burkhard. 2007. Rutas transnacionales: la road movie en el cine espa~ nol. Hispanic Research Journal 8(1): 53–56. Rêga, Cacilda, and Carolina Rocha, eds. 2011. New Trends in Argentine and Brazilian Cinema.
LIE 12. 13. 14. 15. 16. 17. Road Movies wiederum werden unterschiedliche Aussagen zur Freiheitsproblematik gemacht, indem das Motiv der Reise auf mehrere Arten benutzt wird” (Bertelsen 1991, 47; my translation). See Pérez (2011) for a comparison between road movies and contemporary road novels in Spain. ’ A unit of analysis for studying texts according to the ratio and nature of the temporal and spatial categories represented. The distinctiveness of this concept as opposed to most other uses of time and space in literary analysis lies in the fact that neither category is privileged; they are utterly interdependent.
Accordingly, the ﬁlm shows how the buddies’ minds open up to reﬂection on what they see. Whereas the ﬁrst part depicted them having fun or being involved in picaresque adventures, we now see Guevara walk onward in silence, thinking about what he sees and hears along the way. In parallel to this, the relationship between the two buddies begins to change. Whereas Granado took the lead in the ﬁrst part, it is now Guevara who insists on pursuing their journey, contrary to Granado who deems their project to be “impossible from a human point of view” [humanamente imposible], without the help of a motorized vehicle, that is.
Benko (Volga) Gambit A57-A59 by Jon Tisdall