The cinematographic mode in the story of Hijo de Ladrón (Manuel Rojas)

Abstract

From Hijo de Ladrón (1951), the Chilean Manuel Rojas shows how an account of specific characteristics can be addressed so that the reading works from a “metaphorical camera” located between him and the reader. This facility crystallizes in the visualization of the narrated action and "vivid description"; the point of view of the character and the "literary subjective shot", as well as "subjective hearing"; the literary"voice-over"; the presence of juxtaposition and, in that direction, of simultaneity. From this emerges a documentary character of the story.