La Pantalla erógena: variaciones de lo figural en el cine de Gunvor Nelson, Stephen Dwoskin, Andrés Duque y Philippe Grandrieux
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Document Type
Document Version
Author
Director
Benavente, Fran
Suárez, Juan Antonio
Suárez, Juan Antonio
Tutor
Other authors
Publication Date
Pages
329 p.
Embargo date
2027-01-21T01:00:00Z
Citation
Masotta Lijtmaer, C. La Pantalla erógena: variaciones de lo figural en el cine de Gunvor Nelson, Stephen Dwoskin, Andrés Duque y Philippe Grandrieux. Universitat Pompeu Fabra; 2019. handle: http://hdl.handle.net/10803/665675
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Citation
Doctoral program
Programa de doctorat en Comunicació
Abstract
En Discurso, Figura, el filósofo francés Jean-François Lyotard acuña un término: figural, que teóricos como Nicole Brenez, Philippe Dubois o Jean-Michel Durafour, entre otros, han llevado al terreno del análisis de la imagen cinematográfica. El pensamiento figural hace de la materialidad de la imagen, de su plasticidad, su objeto de estudio privilegiado. El objetivo de esta tesis es analizar las filmografías de Gunvor Nelson, Stephen Dwoskin, Philippe Grandrieux o Andrés Duque; a partir del análisis de sus figuraciones del cuerpo en danza, el rostro, las relaciones de sus imágenes con lo pictórico, así como la presencia en estas de “lo animal”, veremos cómo en sus filmografías el concepto de figural varía, centrándonos no solo en el análisis de sus imágenes, pero también de sus reflexiones teóricas sobre el cine en forma de artículos, entrevistas o, incluso, documentos directamente asociados al rodaje como su registro filmado. Junto con la emergencia del espacio figural, en sus propuestas cinematográficas, y en relación con su exploración de las posibilidades de la materia fílmica y también digital, descubriremos que las imágenes de todos estos cineastas se acercan a lo háptico, otro concepto central en esta tesis. Pues las imágenes del cuerpo, del rostro, de Nelson, Dwoskin, Grandrieux y Duque, son una invitación al espectador a establecer una relación sensorial con las imágenes, que nos lleva a pensar la pantalla de cine como una superficie erógena. Por otro lado, la mirada sobre el cuerpo que estos cineastas proyectan en sus películas cuestiona desde distintos puntos de vista muchas de las figuraciones del cuerpo presentes en la historia del arte, de la fotografía y del cine. Lo que nos lleva a plantear, a partir de las filmografías de los cuatro autores que analizamos en esta tesis, que, frente al concepto de archivo de imágenes del cuerpo, desarrollado por autores como Allan Sekula, surgido en el siglo XIX, con el nacimiento de la fotografía y en conjunción con el concepto de Foucault de “cuerpo dócil”, disciplinado, existe un “archivo indisciplinado” de imágenes del cuerpo.
In Discourse, Figure, French philosopher Jean-François Lyotard coins a term: figural, which theoreticians such as Nicole Brenez, Philippe Dubois or Jean-Michel Durafour, among others, have applied to the analysis of the cinematographic image. Figural thought makes of the materiality of the image, of its plasticity, its privileged object of study. The aim of this thesis is to analyze, through the concept of the figural, the filmographies of Gunvor Nelson, Stephen Dwoskin, Philippe Grandrieux or Andrés Duque; from the analysis of their cinema figurations of the dancing body, of the face, of the relationships of his images with the pictorial, as well as of the presence of “the animality” in their cinema, we will see how in their filmographies this concept of figural varies, focusing not only on the analysis of their images, but also on their theoretical reflections on cinema in articles, interviews or, even scripts or shooting plans associated with filming. Together with the emergence of the figural space, in their cinematographic proposals, and in relation to their exploration of the possibilities of filmic and digital matter, we will discover that the images of all these filmmakers approach the haptic, another central concept in this thesis. For the images of the body and the face by Nelson, Dwoskin, Grandrieux and Duque invite the spectator to establish a sensory relationship with the images, which leads us to think of the cinema screen as an erogenous surface. On the other hand, the view of the body that these filmmakers project in their films questions in different ways many of the figurations of the body present in the history of art, photography and cinema. What leads us to argue, from the filmographies of the four authors that we analyze in this thesis, that in front of the concept of an archive of images of the body emerged in the XIX century, developed by authors like Allan Sekula, with the birth of photography and in conjunction with Foucault's concept of "docile body", and discipline, there is an "undisciplined archive" of images of the body.
In Discourse, Figure, French philosopher Jean-François Lyotard coins a term: figural, which theoreticians such as Nicole Brenez, Philippe Dubois or Jean-Michel Durafour, among others, have applied to the analysis of the cinematographic image. Figural thought makes of the materiality of the image, of its plasticity, its privileged object of study. The aim of this thesis is to analyze, through the concept of the figural, the filmographies of Gunvor Nelson, Stephen Dwoskin, Philippe Grandrieux or Andrés Duque; from the analysis of their cinema figurations of the dancing body, of the face, of the relationships of his images with the pictorial, as well as of the presence of “the animality” in their cinema, we will see how in their filmographies this concept of figural varies, focusing not only on the analysis of their images, but also on their theoretical reflections on cinema in articles, interviews or, even scripts or shooting plans associated with filming. Together with the emergence of the figural space, in their cinematographic proposals, and in relation to their exploration of the possibilities of filmic and digital matter, we will discover that the images of all these filmmakers approach the haptic, another central concept in this thesis. For the images of the body and the face by Nelson, Dwoskin, Grandrieux and Duque invite the spectator to establish a sensory relationship with the images, which leads us to think of the cinema screen as an erogenous surface. On the other hand, the view of the body that these filmmakers project in their films questions in different ways many of the figurations of the body present in the history of art, photography and cinema. What leads us to argue, from the filmographies of the four authors that we analyze in this thesis, that in front of the concept of an archive of images of the body emerged in the XIX century, developed by authors like Allan Sekula, with the birth of photography and in conjunction with Foucault's concept of "docile body", and discipline, there is an "undisciplined archive" of images of the body.
Keywords
Figural, Háptico, Archivo, Figura, Figuración, Stephen Dwoskin, Gunvor Nelson, Andrés Duque, Philippe Grandrieux, Haptic, Archive, Figure, Figuration, Body, Cuerpo
Subjects
316 - Sociology. Communication
Publisher
Universitat Pompeu Fabra
