Publication: Poéticas del entretenimiento: imagen, movimiento y narración en el cine de Steven Spielberg
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2016-09-28
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Universidad Complutense de Madrid
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Abstract
La presente tesis doctoral tiene como objeto de estudio la obra del director norteamericano Steven Spielberg, uno de los realizadores de mayor éxito del cine de entretenimiento contemporáneo. Las películas de Spielberg, como consecuencia de su extraordinaria popularidad, han sido analizadas en reseñas periodísticas, artículos académicos, monografías críticas, e incluso congresos internacionales. Sin embargo, la mayor parte de la literatura disponible se ha centrado generalmente en el contenido de los films, prestando una atención mucho menor a sus aspectos formales. Desde diferentes enfoques, investigadores muy diversos han examinado las constantes temáticas del autor, tales como la paternidad ausente, la necesidad de comunicación o el conflicto entre lo infantil y lo adulto. Sin embargo, son escasas las aproximaciones que han tratado de profundizar en sus constantes estilísticas, pese a que el complejo estilo visual de Spielberg tiene una enorme relevancia en la experiencia final del espectador. De esta manera, la investigación que planteamos en nuestra tesis pretende abordar las prácticas de realización de Steven Spielberg, desde la perspectiva concreta de las poéticas del cine. Este marco teórico, particularmente orientado al análisis estilístico, se caracteriza por favorecer investigaciones de rango medio, basarse en cuerpos amplios de evidencia empírica y tomar en consideración el agente humano a la hora de explicar las decisiones formales, dejando en un segundo plano nociones como la cultura o la ideología dominante. Las poéticas analíticas del cine, en particular, se centran en el modo en que las películas se elaboran, desempeñan funciones específicas y generan efectos concretos. Nuestra tesis pretende, por lo tanto, aplicar los principios y metodologías de las poéticas del cine a la obra de Steven Spielberg, y en concreto a cuatro áreas muy específicas de la realización: la ocultación visual, la simultaneidad compositiva, el desplazamiento de los personajes y el movimiento de cámara. Cada uno de estos aspectos es analizado en relación con el sistema narrativo global, y tomando como objeto de estudio específico los veintiocho largometrajes que integran la filmografía del director. De esta manera, a partir de este cuerpo de información concreto, se plantean los siguientes objetivos: detectar los recursos empleados en cada una de estas áreas, evaluar la variedad y complejidad de los mismos, estudiar su relación con el argumento, y contextualizar históricamente sus funciones y efectos...
The topic under consideration in this doctoral thesis is the work of American director Steven Spielberg, one of the most successful filmmakers of contemporary mainstream cinema. As a result of their enormous popularity, Spielberg’s films have been analyzed in journalistic reviews, academic papers, critical monographs or even at international conferences. Most of the literature available, however, has generally focused on the content of these films, giving considerably less attention to their formal aspects. From different approaches, a wide variety of researchers have examined the filmmaker’s recurring themes, such as the absent father, the need for communication or the childhood-adulthood conflict. Nevertheless, few have sought to study his stylistic features in greater depth, even though Spielberg’s complex visual style plays an extremely important role in the final experience of the audience. Thus, the dissertation aims to address Steven Spielberg’s filming techniques, from the particular perspective of the poetics of cinema. This theoretical framework, particularly oriented towards stylistic analysis, characteristically promotes middle-level research, is based on ample empirical evidence and takes into account the human agents when explaining formal decisions - relegating notions such as culture or ideology. The analytical poetics of cinema, in particular, focus on how films are made, how they serve specific functions and create concrete effects. This thesis therefore seeks to apply the principles and methodology of the poetics of cinema to Steven Spielberg’s work and, in particular, to four specific areas of filmmaking: visual concealment, visual simultaneity, staging and camera movement. Each of these aspects has been analyzed in relation to the global narrative system and taking the twenty-eight feature films included in the director’s filmography as the specific object of study. On the basis of this concrete body of information, the following objectives have thus been set: to detect the techniques used in each of above mentioned areas; to assess the variety and complexity of such techniques; to explore their relation to the plot and to place their functions and effects in a historical context. In this way, the first chapter of the dissertation examines what we have defined as visual concealment, a strategy based on hiding certain elements in the scene - usually the faces of the characters - in order to create dramatic effects...
The topic under consideration in this doctoral thesis is the work of American director Steven Spielberg, one of the most successful filmmakers of contemporary mainstream cinema. As a result of their enormous popularity, Spielberg’s films have been analyzed in journalistic reviews, academic papers, critical monographs or even at international conferences. Most of the literature available, however, has generally focused on the content of these films, giving considerably less attention to their formal aspects. From different approaches, a wide variety of researchers have examined the filmmaker’s recurring themes, such as the absent father, the need for communication or the childhood-adulthood conflict. Nevertheless, few have sought to study his stylistic features in greater depth, even though Spielberg’s complex visual style plays an extremely important role in the final experience of the audience. Thus, the dissertation aims to address Steven Spielberg’s filming techniques, from the particular perspective of the poetics of cinema. This theoretical framework, particularly oriented towards stylistic analysis, characteristically promotes middle-level research, is based on ample empirical evidence and takes into account the human agents when explaining formal decisions - relegating notions such as culture or ideology. The analytical poetics of cinema, in particular, focus on how films are made, how they serve specific functions and create concrete effects. This thesis therefore seeks to apply the principles and methodology of the poetics of cinema to Steven Spielberg’s work and, in particular, to four specific areas of filmmaking: visual concealment, visual simultaneity, staging and camera movement. Each of these aspects has been analyzed in relation to the global narrative system and taking the twenty-eight feature films included in the director’s filmography as the specific object of study. On the basis of this concrete body of information, the following objectives have thus been set: to detect the techniques used in each of above mentioned areas; to assess the variety and complexity of such techniques; to explore their relation to the plot and to place their functions and effects in a historical context. In this way, the first chapter of the dissertation examines what we have defined as visual concealment, a strategy based on hiding certain elements in the scene - usually the faces of the characters - in order to create dramatic effects...
Description
Tesis inédita de la Universidad Complutense de Madrid, Facultad de Bellas Artes, Departamento de Dibujo II (Diseño e Imagen), leída el 8 de febrero de 2016 ; presidente, Juan Miguel Millares Alonso