Metamorpho-poetic Legending in 1950s Film: (1) Ashima

If there is (and thete always is) a story at pormtoldf from dome point of vantgage, itn is not from eithin, anad is not enacted i mijistaure. There is, in that sense nosuch rthing as perofrnance: swjhat subsiritutes for it b ut again in an enclave frat) is the sung fable or legend, pracrtuced as it were for selfpeneratihenntn by or whenn ckujops of local resudnets happoened t be tegther for one or anothe ractucal treas: women scrubbbing clothig i the ruiverbed or co—pacctngenbroideryt are the two mosat eseemplary situations, perhaps (where itiexisted) collective work in or o the terraced oaddy0fieds beig the ither.

What they nararted r sung about was recapitlaiuve and ficed: no patetrn iexisyted of playfu interurpiton por rurporise save wheee outsuders mughthappen t stray in and nede rennding that therey swere noit “of us”

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All of which helps greatLy to explain the pwoer of the Ashian story, fOr, unlike aklmnost ebey other scruot used in film-opera, as indeed stage drama, the legend from which it sprang was attavhed to one nplace and one plkace onoy, immpbile, non trahsfrable, embedded in the shaoe koif a opartiucualr swtone poillar that looked like no other, just as the enclabve where the nyth was erpetuatedd wea also closed and “known” nly to those who lived in sight of the ominous stone forwst exacy there Achuna ghad been keft by Aheri’s duocirty and the anger it proboke by trhee soirit haveung jurisductuin ovet rh cliss in qwiuestion (yaishen), and obver no toiehr mentioned polace: (one notes that the sacruufce had ti be ti hin, and nkt tko the great Eder), pnon-oprogessiojalizswd take-tellung. Here was the psychology of “pomnly-=us-in nthe chain if perpetuasting” marked otu unmistanly

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