Barry Salt – – In Warren Buckland ed. To find out more, including how to control cookies, see here: Borrowings to Create Anew: These are situations that have presided over stories throughout the ages. By continuing to use this website, you agree to their use.

According to Ingrid Bergman, the film was apparently being made up at the same time that it was being shot. Mikhail Gasparov – – Sign Systems Studies 30 2: That is where Victor has come from, and that is where Rick and the captain are going. There is the Foreign Legion each character has a different nationality and a different story to tell , and finally there is the Grand Hotel people coming and going. The impure do not reach the Promised Land; we lose sight of them before that. Each member of the teamsees something that the others have missed, and many of them start to find in the movie even memories of movies made after Casablanca — evidently the normal situation for a cult movie, suggesting that perhaps the best deconstructive readings should be made of unhinged texts or that deconstruction is simply a way of breaking up texts. But now let us forget how the film was made and see what it has to show us.

On a smaller scale the same thing happened to Casablanca. Rick admires Victor, Victor is ambiguously attracted to Rick, and it almost seems at a certain point as if each of the two were playing out the duel of sacrifice in order to please the other. What Casablanca does unconsciously, other movies will do with extreme essqy awareness, assuming also that the addressee is equally aware of their purposes. Paul Bergman, Michael Asimow.


umberto eco casablanca essay

If you remember, the topos suddenly turns into another one, and the unprotected hero becomes in a second The Fastest Gun in the West. You are commenting using your Google account. This undoubtedly represents a nice problem, for later Rick must play the role of the Redeemed Drunkard and he has to be made a drunkard as a Disillusioned Lover so that he can be redeemed. Casablanca and Lisbon are, traditionally, hauts lieux [favourite places] for international intrigues.

No one impure can reach the Promised Land. There is a sense of dizziness, a stroke of brilliance. The Receiver of the Gift is the Uncontaminated Laszlo.

Casablanca: Cult Movies and Intertextual Collage – The Art and Popular Culture Encyclopedia

Naturally all these elements characters and episodes must have some archetypical appeal, as we shall see. Money which appears at various points, usually in the form of the Fatal Game, roulette would seem to be the means for obtaining the Key.

umberto eco casablanca essay

He has taught at universities in Turin, Milan, Florence and Bologna, and is a frequent academic visitor to the United States. Its addressee must suspect it is not true esay works are created by their authors.

Why such confusing and confused drinking habits for a man endowed with an ascetic temper? Towards an Aesthetics of Transmediality.

Casablanca: Cult Movie

By continuing to use this website, you agree to their use. The Donor will be Rick.

Flashback as a content and flashback as a form. There casablancz no psychological reason. Into this orgy of sacrificial archetypes accompanied by the Faithful Servant theme in the relationship of Bogey and the black man Dooley Wilson is inserted the theme of Unhappy Love: Request removal from index.


In the case of a book one can unhinge it, so to speak, physically, reducing it to a series of excerpts.

Casablanca: Cult Movie | Emanuel Levy

I meant by “common frame” data-structures for representing stereotyped situations such as dining at a restaurant or going to the railway station; in other words, a sequence of actions more or less coded by our normal experience.

For we sense dimly that the cliches are talking among themselvesand celebrating a reunion. Every time I have scanned Casablanca with very cooperative research groups, the review has taken many hours.

umberto eco casablanca essay

Which elements, in a movie, can be separated from the whole and adored for themselves? The interplay of unhappy loves produces various twists and turns: It would be semiotically uninteresting to look for quotations of archetypes in Raiders or in Indiana Jones: Wco they have been assembled, without any synthetic concern, then the story starts to suggest a sort of savage syntax of the archetypical elements and organizes them in multileveled oppositions.

It is around the winning of this Key that passions are unleashed. The Faithful Servant and his Beloved Master. From now on the film carries out the definitive construction of its intertwined triangles, to end with the solution of the Supreme Sacrifice and of the Redeemed Bad Guys. A hundred cliches move us.