The article deals with the processes of association that the viewer constructs in the first person in relation to cinema. Starting from the idea that the uncertainty principle affects the view of any moment in the history of cinema, it takes subjectivity and life experience – rather than any objective presumption of a scientific method – as spaces of observation, thought, constellation and associative montage, through which aesthetic criteria are formed and emerge in each spectator, and the advents ...
The article deals with the processes of association that the viewer constructs in the first person in relation to cinema. Starting from the idea that the uncertainty principle affects the view of any moment in the history of cinema, it takes subjectivity and life experience – rather than any objective presumption of a scientific method – as spaces of observation, thought, constellation and associative montage, through which aesthetic criteria are formed and emerge in each spectator, and the advents of images and figurative manifestations take place. To that end, the author chooses two fragments of commercial films from the 1980s, seen during childhood, installed in the viewer’s memory and seen again now. From there, different ideas about acting gestures surface, analyzed from the standpoint of fragmentation, segmentation and the enlargement of visual signs.
+
