Narrativa audiovisual y semiótica de Hans Landa en el capítulo I de la película, Bastardos sin gloria.

Abstract

The cinema – quoting the great Santiago Rivas on his visit to Pamplona city (Cinematoscopio, 2019) – is “a wonder, it is a modern miracle that allows us to tell our stories”, cinema is the seventh art, but a communicative revolution that focused the advance of the current world in the last century. There are so many authors and directors who have dared to tell the truths in different ways, that today cinema is and continues to be the best way to narrate, incorporates the magic of radio, the elegance of photography and poetry made script. It’s a harmonious composition, pleasing to the eye and capable of allowing tears to roll and hearts to be exalted. In that carousel of emotions, Quentin Tarantino enters as creator of dystopian or alternate stories to reality with his bloody touch with which many viewers today feel identified, but it’s not only as he tells but as he carries out the history of his characters. This monograph focuses on the study of a particular character, Hans Landa on the film Inglourious Basterds of 2009, as one of his star characters in his filmography and how from the audiovisual narrative and semiotics his influence is evidenced as the guiding thread of others events in the film.