Publication: El escalofrío. Cuerpo e imagen en el cine de Andrés Duque
Authors
Masotta Lijtmaer, Cloe
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Publisher
Murcia: Servicio de Publicaciones de la Universidad de Murcia
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DOI
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info:eu-repo/semantics/article
Description
Abstract
El punto de partida y eje teórico de este texto es una emoción
que atraviesa el cuerpo del espectador, pero también el de la
imagen: el escalofrío. Esta noción se relaciona con diversas
reflexiones sobre lo visible y la visión que han elaborado teóricos
como Rossalind Krauss o Jacques Lacan, y también con la noción
de estremecimiento de Raymond Bellour. A partir de estas
aportaciones teóricas el escalofrío puede ser pensado como una
huella en la imagen, pero también como una emoción del que la
mira, que conecta a este espectador con dicha imagen a través
de una relación de deseo. A partir de esta noción proponemos
pensar las imágenes del cine de Andrés Duque como una pantalla
epidérmica, como una imagen regida por una lógica emocional,
y no representacional. Algo que analizaremos a través de la
imagen concebida como dispositivo hipnótico, la representación
del cuerpo, su sombra y su desvanecimiento en la imagen, y la
figuración y desfiguración del rostro.
ABSTRACT: The starting point and the theoretical axis of the text is the chill, an emotion that goes through the body of the viewer, but also of the image. This notion is related to various approaches to the nature of vision and the visible developed by such theoreticians as Rossalind Krauss and Jacques Lacan, but also refers to a concept forged by Raymond Bellour: the shudder. From these theoretical contributions the chill can be thought of as a footprint in the image, but also as an emotion of the beholder, which connects this viewer with the image through a relationship of desire. Using this formulation of the chill, we will regard Andrés Duque’s cinema as an epidermal screen—an image guided by an emotional, non-representational, logic. Additional concepts to be explored throughout are the image conceived as an hypnotic device, the representation of the body, its shadow and its fading image, and the figure and disfigurement of faces in Duque’s cinema.
ABSTRACT: The starting point and the theoretical axis of the text is the chill, an emotion that goes through the body of the viewer, but also of the image. This notion is related to various approaches to the nature of vision and the visible developed by such theoreticians as Rossalind Krauss and Jacques Lacan, but also refers to a concept forged by Raymond Bellour: the shudder. From these theoretical contributions the chill can be thought of as a footprint in the image, but also as an emotion of the beholder, which connects this viewer with the image through a relationship of desire. Using this formulation of the chill, we will regard Andrés Duque’s cinema as an epidermal screen—an image guided by an emotional, non-representational, logic. Additional concepts to be explored throughout are the image conceived as an hypnotic device, the representation of the body, its shadow and its fading image, and the figure and disfigurement of faces in Duque’s cinema.
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