Publication: Una visión fenomenológica de la ontología del cinematógrafo
Authors
Hoyos Morales, Alfonso
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Publisher
Universidad de Murcia, Servicio de Publicaciones
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DOI
https://doi.org/10.6018/cartaphilus.409601
https://doi.org/10.6018/cartaphilus.409601
https://doi.org/10.6018/cartaphilus.409601
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info:eu-repo/semantics/article
Description
Abstract
El siguiente trabajo se propone
encontrar conexiones entre cierto tipo de
cineastas y la propuesta ontológica de la
fenomenología. La aparición del cine otorga‐
ría una nueva dimensión al arte, la captación
mecánica de la realidad física, así como un
lenguaje propio (el montaje, el encuadre,
etc). Estos dos elementos constituirían una
dialéctica que no sería sino la expresión de
un dualismo metafísico ancestral: la prepon‐
derancia o bien de lo subjetivo o bien de lo
objetivo. A través del estudio de autores
realistas como Kracauer o Bazin procurare‐
mos matizar su visión con la perspectiva
fenomenológica o de inspiración fenomeno‐
lógica de autores (tanto filósofos como ci‐
neastas o teóricos del cine) como Merleau
Ponty, Robert Bresson y Nathaniel Dorsky,
entre otros. Estos, asumiendo la característi‐
ca propia del cine, a saber, su íntimo contac‐
to con la realidad física, consideran que la
verdadera expresión de ésta requiere de una
mejor comprensión del lenguaje cinemato‐
gráfico y su aspecto formal. Así, entienden
este lenguaje no como herramientas abstrac‐
tas, sino como una escritura que nace de la
propia materia de su medio.
This paper tries to find connections between some kind of filmmakers and the ontology of phenomenology. The birth of cinema brought a new dimension to art: the mechanic capture of physical reality, as well as a new language. These two elements brought a dialectic that is similar to an ances‐ tral metaphysical dualism: the preponder‐ ance of, either the objective either the sub‐ jective. Through the study of some realistic author as Kracauer or Bazin we will try to qualify their vision with the phenomenologi‐ cal perspective of some authors (philoso‐ phers as well as filmmakers and film theo‐ rists) as Merleau‐Ponty, Robert Bresson and Nathaniel Dorsky and others. They consider, assuming the inner essence of cinema as an intimate contact with physical reality, that the true expresión of this requires a better comprehension of cinematographic language and it’s formal aspect. Thereby, they under‐ stand this language not as abstracts tools, but as a writing that is born from the materi‐ ality of it’s medium.
This paper tries to find connections between some kind of filmmakers and the ontology of phenomenology. The birth of cinema brought a new dimension to art: the mechanic capture of physical reality, as well as a new language. These two elements brought a dialectic that is similar to an ances‐ tral metaphysical dualism: the preponder‐ ance of, either the objective either the sub‐ jective. Through the study of some realistic author as Kracauer or Bazin we will try to qualify their vision with the phenomenologi‐ cal perspective of some authors (philoso‐ phers as well as filmmakers and film theo‐ rists) as Merleau‐Ponty, Robert Bresson and Nathaniel Dorsky and others. They consider, assuming the inner essence of cinema as an intimate contact with physical reality, that the true expresión of this requires a better comprehension of cinematographic language and it’s formal aspect. Thereby, they under‐ stand this language not as abstracts tools, but as a writing that is born from the materi‐ ality of it’s medium.
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