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EN
The author analyzes closed spaces in anti-westerns, with special emphasis on their semiotic and aesthetic functions. He points to the reasons for the degradation of the film image of interiors. He interprets this as a conscious rejection of the mythical structure of the genre. The break with the idealization affects not only the elements of the classic western iconography, but also emphasizes the groundlessness of the actions of the mythical man of the West, and the community that he defends. That shift away from functions coupled with the image of the interior is illustrated with examples that take into account innovative tools of the language of film, and their consistent application in following principles of drama.
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