Publication: La mirada espejeante: análisis textual del film "El espejo de Andrei Tarkovski"
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2015-04-13
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Universidad Complutense de Madrid
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Abstract
La mirada espejeante es el resultado de la lectura de un espectador del film El espejo (Zerkalo, 1974) de Andrei Tarkovski; una experiencia que enfrenta el universo enigmático, seductor y conmovedor del texto fílmico en la pantalla. El encuentro con el programa de doctorado de la Universidad Complutense de Madrid «Teoría, análisis y documentación cinematográfica», en especial con la línea de investigación dedicada al estudio del discurso audiovisual desde el análisis textual, dispuso el ámbito desde el cual se intenta responder al por qué El espejo despierta tantas emociones encontradas y genera culto, cuál es el motivo para que muchos espectadores –entre ellos varios críticos– se nieguen a afrontar su cifra valorando radicalmente su carga emocional y, sobre todo –distante ya de las vanguardias históricas y posvanguardias hegemónicas–, cuál es la propuesta estética que se realiza en la escritura fílmica y hace que se diferencie de otros films de su generación manteniéndolo vigente en la cinematografía actual. Este estudio observa, en primera instancia, que la bibliografía existente sobre la obra del cineasta está concentrada, en su mayoría, en los últimos films o trata en general toda la producción del autor en relación con su vida. De El espejo se encuentran capítulos de libros y, sobre todo, artículos en revistas, la mayoría difundidos por internet; con excepción de Mirror (2001) de Natasha Synesius, considerada la primera tesis sobre el film. El análisis textual da cuenta de cómo El espejo transgrede los géneros cinematográficos y es el eje biconvexo al interior del cual reverberan efectos de sentido en relación a toda la filmografía del director ruso: la anterior [Los asesinos (Ubitytsy, 1958), El violín y la apisonadora (Katok i skripka,1960), La infancia de Iván (Ianovo Destvo, 1961), Andrei Rublev (1966) y Solaris (Soyaris, 1972)] y la posterior [Stalker (1979), Nostalgia (Nostalghia,1983) y Sacrificio (Offret, 1986)]...
The shimmering look is the result of a perusal made by a viewer, of the film The Mirror (Zerkalo, 1974) by Andrei Tarkovsky; a experience facing the enigmatic, seductive and moving universe of the film text on the screen. Meeting with the PHD program at Complutense University of Madrid, "Theory, analysis and film documentation", and especially with the line of research dedicated to the study of audiovisual speech from textual analysis, enabled the area from which it is tried to answer why the mirror awakes so many conflicting emotions and generates cult, as well as the reason for many viewers -including several critics- to refuse to meet its figure, radically assessing its emotional charge. And finally -far from historical avant-garde and hegemonic-posvanguardias- what is the aesthetic that takes place in the film script and makes it different from other films of its generation, keeping it current in todays filmmaking. This study observes, at first instance, how the existing literature on the filmmaker work is concentrated mostly in the last films on the entire production of the author relation to his life. Chapters about The Mirror are found in books and especially in magazine articles mostly spread on the Internet; except for Mirror (2001) by Natasha Synesius, considered the first thesis made about the film. The textual analysis shows how The mirror transgresses film genres and is the biconvex axis within which sense effects relate to the complete filmography of the Russian director: the previous [The killers (Ubitytsy, 1958), The Steamroller and the Violin (Katok i skripka,1960), Ivan's Childhood (Ianovo Destvo, 1961), Andrei Rublev (1966) and Solaris (Soyaris, 1972)] and the subsequent [Stalker (1979), Nostalghia (Nostalghia,1983) and the sacrifice (Offret, 1986)]...
The shimmering look is the result of a perusal made by a viewer, of the film The Mirror (Zerkalo, 1974) by Andrei Tarkovsky; a experience facing the enigmatic, seductive and moving universe of the film text on the screen. Meeting with the PHD program at Complutense University of Madrid, "Theory, analysis and film documentation", and especially with the line of research dedicated to the study of audiovisual speech from textual analysis, enabled the area from which it is tried to answer why the mirror awakes so many conflicting emotions and generates cult, as well as the reason for many viewers -including several critics- to refuse to meet its figure, radically assessing its emotional charge. And finally -far from historical avant-garde and hegemonic-posvanguardias- what is the aesthetic that takes place in the film script and makes it different from other films of its generation, keeping it current in todays filmmaking. This study observes, at first instance, how the existing literature on the filmmaker work is concentrated mostly in the last films on the entire production of the author relation to his life. Chapters about The Mirror are found in books and especially in magazine articles mostly spread on the Internet; except for Mirror (2001) by Natasha Synesius, considered the first thesis made about the film. The textual analysis shows how The mirror transgresses film genres and is the biconvex axis within which sense effects relate to the complete filmography of the Russian director: the previous [The killers (Ubitytsy, 1958), The Steamroller and the Violin (Katok i skripka,1960), Ivan's Childhood (Ianovo Destvo, 1961), Andrei Rublev (1966) and Solaris (Soyaris, 1972)] and the subsequent [Stalker (1979), Nostalghia (Nostalghia,1983) and the sacrifice (Offret, 1986)]...
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Tesis inédita de la Universidad Complutense de Madrid, Facultad de Ciencias de la Información, Departamento de Comunicación Audiovisual y Publicidad II, leída el 30-11-2014