: Cuando Yo Caiga (Heterodoxia) (Spanish Edition) ( ) by Ramón Sampedro and a great selection of similar New, Used and. que cada uno recoja lo que me dio prestado. Así, cuando yo caiga, dejadme caído para retomar a la vida allí donde yo caiga. RAMON SAMPEDRO (falleció el . Libros de Segunda Mano (posteriores a ) – Literatura – Poesía: Cuando yo caiga – poemas – ramon sampedro *. Compra, venta y subastas de Poesía en.
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Oscar for Best Foreign Language Film. Owing to his disability, he has been bedridden for 28 years. From the very moment he finds out that he is never going to be able to walk again, his only aim is to find some loophole in the law that might allow someone to help him to die without being convicted for it.
During this struggle, he meets two women who are to change his life: Julia, the lawyer who wants to support his cause publicly, and Rosa, a neighbour from the village, who, upon learning his story, will try to persuade him that life is worth living.
Euthanasia, dignified death, living without dignity, the right to die, sakpedro of choice, etc. However, at 25, a miscalculated dive from the rocks along the coast of his native Galicia results in a cervical injury after which he is only able to move his head.
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He refuses to use a wheelchair, seeing it as a symbol of his limited freedom. The different characters that appear in the film represent a human universe of attitudes when faced by the onset of an unexpected disability, with their different reactions, feelings, behaviours and processes of adaptation, while at the same time ra,on a natural support network to cope with daily life.
The supporting characters are also brilliant. In this respect she comments: Am I not a slave too? How do you think I felt when I had to leave the sea to come here, to get some kind of money out of this crappy piece of land, to be with you: All of us your slaves!
So, all right, and I understand that other quadriplegics might take offence when I say that life like this is not worth it, but I am not judging anyone, am I? His stubbornness against attachment to life is obsessive, and his desire to die becomes pathological.
His rejection of resources that might improve the quality of life of people with quadriplegia technical means, suitable environmental means, etc. The judges ramoh portrayed as lacking humanity, with gloomy features and solid arguments that refuse to see his point of view: What are 2 metres? An insignificant distance for any human being. Well, for me those 2 metres that I need to reach you, to touch you even, are an impossible journey, a chimaera, a dream.
This position contrasts with what his brother says: I want the best for him; everybody in the household wants the best for him. So, why should vaiga want to die?
The result is a sensationalist film focused only on its marketability.
In spite of this, it does not succeed in completely reaching the viewer, possibly due to the mediocrity of its stylistic resources and its dull and superficial plot: The concept of happiness portrayed is materialist and individualist.
The film establishes a parallelism between quadriplegia and euthanasia. There are no counterarguments provided by complementary stories of other people who live cheerfully despite being quadriplegic; testimonies that, by providing a broader view of the issue, would enrich the development of the line of thought defended by the scriptwriters and the director in the plot. The film establishes a campaign of manipulation that takes advantage of a person with a spinal cord injury to open a discussion on euthanasia for political purposes, since it uses a dignified death that could have been discreet.
Revista de Medicina y Cine
Javier Bardem plays the role of a quadriplegic in a very convincing and masterly way, in such a way that this role has led him to being considered famon of the best Spanish actors of the times.
The performance of the both protagonist and the supporting actors is synergic and imbues cuandi issue addressed with a certain sobriety. At times, the Galician accent becomes too broad, making it difficult to understand the dialogues. It uses effective music but with manipulative purposes. It does not deal with the true issues about life and death in depth. It establishes a moving, but not very thought-provoking, atmosphere, following the typical format of American films, where the director seeks emotional involvement of viewers.
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The commercial purpose is unquestionable. The cast, which is excellent, is what saves the film. It is an apology of euthanasia, since it is about a person who is not terminally ill.
The reasons for the nature and opinion of each of the characters are not clear, while the truth is that the personality of each of them is rooted in their past. To sum upthere is little to object to.
The prizes awarded support its cinematographic qualities. It is a successful piece of cinematographic art, with an excellent screenplay and a praiseworthy performance. The film starts from a series of facts that can indeed be generalized to all those suffering from an unexpected spinal cord injury.
It shows a xaiga cervical spinal cord injury leading to quadriplegia as the consequence of an ill-fated dive. This type of accident and ssmpedro subsequent injury are one of the most frequent causes of unexpected spinal chord injuries related to sports.
It involves the need for help, environmental adaptation, and technical support.
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The most outstanding differences among patients with spinal caia injuries are observed at this stage, since the caigs limitations depend on the level at which the injury takes place. The most dramatic consequences, quadriplegia, result from high cervical injuries. Possible explanations for such a situation might be found, for instance, in the time when the injury took place, since in neither welfare resources nor environmental support were at the level they sampwdro today.
However, this explanation might not be appropriate, since there are many sampdro whose unexpected spinal cord injuries took place around that time or even before, and who have chosen paths of adaptation that have led them to high degrees of independence, autonomy, and quality of life.
His case would rather be the opposite; he manages to establish an extensive, caring and more than considerable network of friends. As has been said among the associations of people with spinal cord injury, to be the focus of the media, to appear on television or in the newspapers, in order to have a film made about you, you must be prepared to commit suicide.
However, thousands of others choose their own happiness and thus contribute to the happiness of those around them. It is also equally clear that not everyone has the same capacity for adaptation. However, the association between quadriplegia and the desire for euthanasia or a dignified death, an association that is implicit in the film, can neither be generalized about, and nor does it even reach significant levels of frequency among people with high spinal ccuando injury.
This association, unjustified and applicable only to certain cases, is what is unfair, unjustifiable, and uncalled-for, stirring the anger of the large group of people with spinal cord injury who, instead of attitudes of defeat, resignation, submission, and giving in, choose attitudes of confrontation, samppedro, self-improvement and rehabilitation, thus fighting for a life of independence and quality.
In short, people who on a daily basis demonstrate that disability is compatible with happiness. A different view six years after the Caigq Award.
Some words of criticism from viewers: Spinal cord injury through The Sea Inside: Translation by the team of the Languages Service of the University of Salamanca. Revista de Cine [Internet]. Cartas desde el Infierno. Editorial Ocho y medio, Libros de cine;