醉母猫

委内瑞拉电影大师Román Chalbaud的作品。剧情介绍：委内瑞拉的马拉开波市，罗莎里奥同她的同班同学谈恋爱，两人商量着结婚，但男方的父母不同意这桩婚事。为了生计，她只得当了妓女。后来，罗莎里奥到首都的 “醉母猫妓院”当伴舞女郎，一次在餐馆吃饭时引起了银行副董事维克托的注意。维克托常到“醉母猫妓院”去见罗莎里奥，一来二往，两人渐渐产生了情愫。为了罗莎里奥，维克托甚至懈怠了工作，疏远了家庭。他打算将罗莎里奥从“醉母猫妓院”里赎出来，为此，在他从工作的银行里偷了一笔巨款后，他劝说罗莎里奥跟他去加勒比。但醉心于灯红酒绿生活的罗莎里奥拒绝了维克托的请求，虽然维克托苦苦恳求，但罗莎里奥仍置之不顾，最后，绝望的维克托将她杀死。This research shows how a motion picture author constructs the filmic text/discourse as a cultural object, in an interpretive mediator process, in which he creates his own grammatical rhetoric through appropriation or transgression operations. The objective is to establish traces of grammatical rhetoric in the collection of significant filmic material of this Venezuelan film maker, Román Chalbaud. The method used is semiotic, based on the theoretical-methodological principles of the semiotics of significant production (Bettetini, 1977; 1984; 1996), of culture and text (Lotman, 1996; 1998; 1999; 2000) and of social semiosis (Verón, 1996). A collection of eight films is analyzed : Cain adolescente (1959), Cuento para mayores (1963), La quema de Judas (1974), Sagrado y obsceno (1976), El pez que fuma (1977), El rebano de los ángeles (1979), La oveja negra (1987) and Pandemónium (1997). As a general conclusion it is inferred that traces of Chalbaud’s rhetoric are recorded in the significant subjects of his films, in a personal institutional system,that privileges fiction/chronicle motion pictures of this kind.