ISSN 1409-6900 | UDK 82+7 Blesok no. 02 | volume I | April-May, 1998
Blesok no. 02,
Where is the Magic in “Gipsy Magic”?
As first, we are going to define some aspects about the term of a structure, which in this text, we are going to accept it in some other way then usual. In this text, the term structure will cover not just the phenomena and features which belong under the methodology of a structuralism as literary science branch, but quite wider and more complex: besides the pure structural elements like the theme and the motives of the deed, the actants and the functions they have, etc., here, we'll place the elements of the chronotop too, and also the elements of the textual solutions – both from aspect of the narration and of the style. And in the same context, the intertextual constellation of the deed. And all that quite briefly, because we aren't going to abuse the space given to us here and we are going to skip detail analysis, so we'll jump straight to the concrete conclusions which results from them.
As first, the theme: very unhappily chosen, we'll say. Especially because it seems to come very late in opposite to one big and maybe too much exploited theme at the whole worldwide film production. Anyhow, that wouldn't have been anything negative, if the film would bring something new: some new way of expression, some new incline to the theme or different aspect of the author towards it, or at least new manner in the presentation of the same. But, unfortunately, that didn't happen with this film. Because, there is nothing else this film brings but the interesting plot in the script itself: false deaths of the most members of the Taip's family (Taip is the main character who wants with this deceptions to make his dreams of living in India – his dreamland – become true), and maybe only the potentials of the cast. Indeed, nothing lucid, inventive and new, even when it was really expected by an author with that reputation and so solid creative background. That brings this film to the looks of a “good, old”, but worn out “Dèjа vu”.
The very textual structuring of the fabula is almost invisible, or it doesn't exist at all; the chronotop is flat, with no enigma in its dynamics. We can say that in “Gipsy Magic”: syjet = fabula, namely that there is no difference between them, and they are in congruence. So, we can conclude that the
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