SINTAGMATSKA I PARADIGMATSKA OSA DANTEOVOG „PAKLA“ I FILMA „KUĆA KOJU JE DžEK SAGRADIO“

Abstract

Due to the parallel analysis of Dante’s Inferno and the film The House That Jack Built, and therefore of poetry and film, it was necessary to include a methodological approach that would allow interpretation in both linguistic and visual plan in this paper. Therefore, the relationship of linguistic and visual units of varying scope was analyzed using the syntagmatic and para- digmatic axis. The specificity of the analysis comes from the fact that this Dante’s epic poem is a combination of metonymy and metaphor (but also allegory), that is, they represent poetic excerpts of combination and selection. In the analysis, we start from the points of view of De Saussure (“horizontal”, syntagmatic axis and sequences), Jakobson (selection of units and their combinations), Lotman (series of shots that alternate with each other), Mitry and Hutch- eon (adaptation of a literary work). Then we will interpret Dante’s Inferno and Von Trier’s film in parallel, starting with Frisardi and Keen (Divine Comedy, narrative), Mez (alternating editing, images from the “A” and “B” series), Camilletti (linguistic and narrative structures), Hui (meaning of ombre [shadow] in Dante), etc. The aim of this paper is to use the mentioned methods to investigate the intertextual connections between Dante’s work and Lars von Trier’s film, through parallel interpretation and direct connection of the verses and dialogues from Hell (through them and descriptions of places and events) with the film frames and scenes. Several works have been published so far about the film The House That Jack Built, but only one partially deals with the relationship between Dante’s Hell and this Von Trier’s film. How- ever, even in this work, entitled The play of iconicity in Lars von Trier’s The House That Jack Built, Danish author Bodil Thomsen does not make intertextual connections through concrete verses and dialogues from Hell, and film frames and scenes.