On the other hand the myth of sacrifice runs through the whole film: William Brown – – In Warren Buckland ed. Rick is now the Disenchanted Lover, or the Cynical Seducer. According to Ingrid Bergman, the film was apparently being made up at the same time that it was being shot. These are situations that have presided over stories throughout the ages. This article has no associated abstract.

Rick slowly shows up, first by synecdoche his hand , then by metonymy the check. Limited resources and the unity of place, due to the theatrical origin of the story, suggested an admirable condensation of events in a single setting. Spielberg and Lucas are semiotically nourished authors working for a culture of instinctive semioticians. According to Ingrid Bergman, the film was apparently being made up at the same time that it was being shot. Only later does the symphonic work take place. Nobody would have been able to achieve such a cosmic result intentionally.

Rick is now the Disenchanted Lover, or the Cynical Seducer. And this is the reason it works, in spite of aesthetic theories and theories of film making.

umberto eco casablanca essay

Nevertheless, it is a great example of cinematic discourse, a palimpsest for future students of twentieth-century religiosity, a paramount laboratory for semiotic research into textual strategies. To find out more, including how to control cookies, see here: But to make the passage one must submit to a test, the Wait “they wait and wait and wait,” says the off-screen voice at the beginning.


Casablanca: Cult Movie

But they do achieve purity through sacrifice–and this means Redemption. The required expertise is not only intercinematic, it is intermedia, in the sense that the addressee must know not only other movies but all the mass eci gossip about movies. Another and different case is the quotation of the topical duel between the black Arab giant with his scimitar and the unprotected hero, ubmerto Raiders of the Lost Ark.

I would not say that an intertextual archetype is necessarily “universal. Ben-Shaul – – Berghahn Books.

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

Unhappy Love, for example, or Flight. These three unhappy or Impossible loves take the form of a Triangle. When all the archetypes burst out shamelessly, we plumb Homeric profundity. Thus one is tempted to read Casablanca as T. Cult of an Individual [The Personality Cult].

umberto eco casablanca essay

Philosophy of Film in Aesthetics. In the final sequence, Rick and the implausibly reformed Renault go off to join the Free French. One can identify the usual paraphernalia of at least ten exotic genres. Signs of Life in the U. These are “postmodern” movies, where the quotation of the topos is recognized as the only way to cope with the burden of our filmic encyclopedic expertise.


Optional Thinking and Narrative Movies. Mikhail Gasparov – – Sign Systems Studies 30 2: Let us take a marginal but revealing example.

umberto eco casablanca essay

See sections 14, 15 and 31 of Lodge ed. It should not reveal a coherent philosophy of composition. The Desperate Lover and Drink to Forget. But Casablanca is not satisfied with that: Which elements, in a movie, can be separated from the whole and adored for themselves?

But that day will come. The Courtroom Goes to the Movies. Quotation of the flashback as a topical stylistic device. There is no psychological reason. On a smaller scale, the same thing happened to Casablanca.

Just as the height of pain may encounter sensual pleasure, and the height of perversion border on mystical energy, so too the height of banality ec us to catch a glimpse of the sublime. It opens in a place already magical in itself–Morocco, the Exotic–and begins with a hint of Arab music that fades into “La Marseillaise.

Major Strasser shows up. Casablanca brings with it, like a trail of perfume, other situations that the viewer casablanc to bear on it quite readily” Sources: