The article focuses on the question of boy versus actor, taking the case of Pablito Calvo in Ladislao Vajda’s three films. The author analyzes the film style of Marcelino Pan y Vino in which filming and editing techniques take the child-actor and create an image capable of bringing to vision the ineffable of childhood and the presence/absence on the screen of his other self (Manuel) and of the Other in the attic (Christ). In Mi Tío Jacinto, Pablito Calvo goes from being a simple cliché to assuming the role of child actor. The third film, Un ángel Pasó por Brooklyn, shows the abstract limits of Calvo’s incipient acting abilities.
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