Meaning construction in film: an analysis about Macario (1960)

Abstract

Modern ways to understand the screenplay are focused in making movies be a meaningful experience; that´s why it has been increasingly necesary to find variations of miths and archetypes that come out of a narrative construction. This article emerges as an attempt to promote one of the several considetarions about meaning construction in a film through the explanation of mechanisms that allow it, analyzing the case of mexican film Macario (1960) directed by Roberto Gavaldón; this film adapts to
considerations made by David Bordwell about how a movie gets connotative value and adapts to Syd Field´s paradigm in order to write a screenplay.