Publication: Tiempo y narración en "El Ángel Exterminador"
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2016-06-10
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Universidad Complutense de Madrid
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Abstract
La presente investigación se centra en estudiar el resultado de uno de los trabajos más brillantes del director Luis Buñuel: la película El Ángel Exterminador. El objetivo es alejarse de la imagen de un Buñuel enigmático y concentrarse en el realizador hábil que, con poco presupuesto, fue capaz de convertir esta película en un referente para el cine moderno. El aspecto central de este estudio es el engaño del tiempo conseguido a través de una narrativa muy peculiar orquestada por Buñuel, que hace que el espectador pierda la situación temporal de la historia, situándole en un constante presente claustrofóbico. Su papel de doble narrador, como guionista y director, sumado a una libertad de movimientos que le dio el productor Gustavo Alatriste, permitió a Buñuel legarnos una película que es y seguirá siendo uno de los referentes de la narrativa cinematográfica. Partiendo del principio de que la casualidad no acompaña las buenas obras, se acumularon una serie de preguntas en el período de incubación de este estudio que terminaron por determinar los objetivos generales de esta investigación: • Comprender y determinar el grado de sentido de la película, que muchas veces está oculto bajo el manto surrealista que atribuyen al director y a su obra. • Analizar la estructura de la película, sus personajes y sus símbolos. • Determinar los recursos técnicos cinematográficos que Buñuel utiliza para enfatizar y crear la narrativa de El Ángel Exterminador. • Indagar al respecto del tiempo en la película, bajo la vertiente del guión, de la puesta en escena, de la puesta en cuadro y de la puesta en serie. Además de estos objetivos generales, se persiguió otros objetivos particulares relacionados con la técnica cinematográfica: delinear la función de los ángulos de cámara, identificar el valor de los planos largos y reconocer los recursos técnicos para la manipulación del tiempo. A su vez, estos objetivos generaron finalmente cinco hipótesis para la investigación. La primera es que El Ángel Exterminador no es una película surrealista, a pesar de deshilar hechos aparentemente inexplicables y con aires de sinsentido. Esta hipótesis se completa, considerando la misión narrativa ficcional del cine de que los absurdos presentados en la película convergen en un relato lúcido de una historia coherente. Para una posible confirmación de esta hipótesis se procedió a un análisis donde se identificaron los hechos que tienen la suspensión de su sentido –aquellos que dieron margen a las más diversas interpretaciones desde el lanzamiento de la película en 1962– y averiguar si el director los liberó a lo largo de la película, dejándoles comprensible al espectador...
This research is focused on studying the result of Luis Buñuel’s most brilliant works: The Exterminating Angel film. The objective is to get away from the enigmatic image of Buñuel and focus on the skilled film director who was able to turn this low-budget film into a reference work for the modern cinema. The main aspect of this study is the time ruse achieved through a very peculiar narrative orchestrated by Buñuel that makes the spectator lose the time reference of the story placing him in a constant claustrophobic present. His role of dual narrator, as scriptwriter and film director as well as the freedom of movement given by the producer Gustavo Alatriste enabled Buñuel to leave us as legacy a film which is and will go on being one of the references of the cinematographic narrative. Considering good pieces of work, like this film, don’t stem from perchance, a series of questions arose during the incubation period of this study, which eventually fixed the overall objectives of this investigation: • To understand and determine the amount of sense that the film actually conveys, which in many cases is hidden under the cloak surreal, often attributed to the director’s work. • To analyze the structure of the film, its characters and symbols. • To identify the cinematographic techniques that Buñuel uses to create and emphasize the narrative of The Exterminating Angel. • To investigate the time element of the film, through script, staging, framing and editing. In addition to these general objectives, other objectives were also pursued, this time in relation with the cinematographic technique: outlining the function of the camera angles, identify the actual value of long shots and the technical means involved in manipulating the time element. Five hypothesis emerged from these objectives. The first one considers that The Exterminating Angel would not be surrealistic, despite unexpected events and nonsensical elements in the film. This hypothesis is backed, considering the fictional mission of the narrative, that the ‘absurds’ portrayed in the film converge towards a clear and coherent story. To confirm this hypothesis, an analysis was carried out to identify the events that seem ambiguous – those that lead to the several interpretations since the film was shown for the first time in 1962 – and check whether the director released their meanings throughout the film, letting the spectator understand them...
This research is focused on studying the result of Luis Buñuel’s most brilliant works: The Exterminating Angel film. The objective is to get away from the enigmatic image of Buñuel and focus on the skilled film director who was able to turn this low-budget film into a reference work for the modern cinema. The main aspect of this study is the time ruse achieved through a very peculiar narrative orchestrated by Buñuel that makes the spectator lose the time reference of the story placing him in a constant claustrophobic present. His role of dual narrator, as scriptwriter and film director as well as the freedom of movement given by the producer Gustavo Alatriste enabled Buñuel to leave us as legacy a film which is and will go on being one of the references of the cinematographic narrative. Considering good pieces of work, like this film, don’t stem from perchance, a series of questions arose during the incubation period of this study, which eventually fixed the overall objectives of this investigation: • To understand and determine the amount of sense that the film actually conveys, which in many cases is hidden under the cloak surreal, often attributed to the director’s work. • To analyze the structure of the film, its characters and symbols. • To identify the cinematographic techniques that Buñuel uses to create and emphasize the narrative of The Exterminating Angel. • To investigate the time element of the film, through script, staging, framing and editing. In addition to these general objectives, other objectives were also pursued, this time in relation with the cinematographic technique: outlining the function of the camera angles, identify the actual value of long shots and the technical means involved in manipulating the time element. Five hypothesis emerged from these objectives. The first one considers that The Exterminating Angel would not be surrealistic, despite unexpected events and nonsensical elements in the film. This hypothesis is backed, considering the fictional mission of the narrative, that the ‘absurds’ portrayed in the film converge towards a clear and coherent story. To confirm this hypothesis, an analysis was carried out to identify the events that seem ambiguous – those that lead to the several interpretations since the film was shown for the first time in 1962 – and check whether the director released their meanings throughout the film, letting the spectator understand them...
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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 18-01-2016