Publication: La evolución del arquetipo del vampiro a través de las principales figuras cinematográficas y su correlación con ciertos cambios sociales
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2017-04-24
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Universidad Complutense de Madrid
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Abstract
La presente tesis doctoral tiene por objeto realizar un estudio sobre la evolución del arquetipo del vampiro a través de su reflejo en el cine. Actualmente, esta figura tiene cada vez más peso en lo cotidiano, habiendo saltado de las leyendas a nuestra realidad actual. Naturalmente, esta investigación parte de la base de que la figura del vampiro en la cinematografía es suficientemente interesante como para ser considerado merecedor de una atención especial. La omnipresencia tecnológica ha sido un buen clima de cultivo para que este arquetipo, cada vez más destinado a un target adolescente, evolucione según los deseos del público. Por otro lado, el tema del vampirismo ha estado siempre en boga desde los comienzos de la cinematografía, adaptándose a la evolución histórica del cine hasta llegar a la actualidad donde hemos asistido a un auge de un nuevo tipo de vampirismo. A lo largo de este trabajo se ha intentado representar la universalidad de las proyecciones cinematográficas, así como la aportación realizada a la globalidad del mito por éstas. A través de estos films, lograremos ver una evolución clara de esta figura y a lo largo de la presente tesis trataremos de entender este fenómeno. La primera parte de este trabajo, englobado bajo el epígrafe de ―conceptos previos‖ procura una explicación de términos que se van a utilizar a lo largo de todo el estudio. Primeramente aproximándonos al concepto del miedo, la importancia social de éste y el reflejo que tiene dentro de la sociedad. Así mismo, tratamos de englobarlo dentro de un género para lo cual debemos hacer una especial distinción entre algunos apartados como la diferencia existente entre horror y terror o entre horror cósmico y horror gótico. Conceptos usados comúnmente dentro del mundo del arte en los que tratamos de ahondar para comprender globalmente el concepto del miedo. Una vez esclarecido previamente este ―contexto‖ en el que se engloba el vampiro, pasamos a la dilucidación de éste. Partiendo del concepto ampliamente definido y ejemplificado del mismo buscamos su origen, y comprobar cómo, en prácticamente todas las culturas, encontramos una figura que podría haber dado lugar al origen del vampirismo. Nos centraremos en las más significativas renunciando a una explicación detallada de muchas otras...
The aim of this doctoral thesis is to carry out a study of the evolution that the figure of the vampire has undergone through its reflection in cinema. Currently, this figure is gaining increasing importance, having jumped from legends to being present in our everyday lives. Naturally, this investigation is based on the fact that the figure of the vampire in cinema is sufficiently interesting to be considered worthy of special attention. The technological omnipresence has been a good breeding ground for this archetype, increasingly destined to target teenage audiences, to evolve according to the public‘s wishes. On another hand, the theme of vampirism has been popular ever since the start of cinematography, adapting to the historical evolution of cinema up until current times were we have witnessed the rise of a new type of vampirism. Throughout this essay I have tried to represent the universality of cinema projections, as well as how they have contributed to the myth. Through these films, we will be able to see a clear evolution of this figure and throughout this thesis we will try to understand this phenomenon. Firstly we will approach the concept of fear, its social importance and its reflection in society. In order to explore the concept of fear within genre we will distinguish between further concepts such as horror and terror, or cosmic horror and gothic horror. We will try to comprehend these concepts which are common in the arts sector to gain a deeper insight on the concept of fear. Once this concept has been clarified, we will focus on the figure of the ―vampire‖ itself. After defining vampirism we will search for its origin only to find that practically all cultures have a figure that could be connected to vampirism. We will focus on the most significant examples, leaving aside a detailed explanation of many others. Following this section, we will look into the perception we have of the vampire. Concepts such as reality and fiction are highly significant in this sense as they tend to complement each other when dealing with vampires...
The aim of this doctoral thesis is to carry out a study of the evolution that the figure of the vampire has undergone through its reflection in cinema. Currently, this figure is gaining increasing importance, having jumped from legends to being present in our everyday lives. Naturally, this investigation is based on the fact that the figure of the vampire in cinema is sufficiently interesting to be considered worthy of special attention. The technological omnipresence has been a good breeding ground for this archetype, increasingly destined to target teenage audiences, to evolve according to the public‘s wishes. On another hand, the theme of vampirism has been popular ever since the start of cinematography, adapting to the historical evolution of cinema up until current times were we have witnessed the rise of a new type of vampirism. Throughout this essay I have tried to represent the universality of cinema projections, as well as how they have contributed to the myth. Through these films, we will be able to see a clear evolution of this figure and throughout this thesis we will try to understand this phenomenon. Firstly we will approach the concept of fear, its social importance and its reflection in society. In order to explore the concept of fear within genre we will distinguish between further concepts such as horror and terror, or cosmic horror and gothic horror. We will try to comprehend these concepts which are common in the arts sector to gain a deeper insight on the concept of fear. Once this concept has been clarified, we will focus on the figure of the ―vampire‖ itself. After defining vampirism we will search for its origin only to find that practically all cultures have a figure that could be connected to vampirism. We will focus on the most significant examples, leaving aside a detailed explanation of many others. Following this section, we will look into the perception we have of the vampire. Concepts such as reality and fiction are highly significant in this sense as they tend to complement each other when dealing with vampires...
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Tesis inédita de la Universidad Complutense de Madrid, Facultad de Ciencias de la Información, Departamento de Comunicación Audiovisual y Publicidad I, leída el 16-12-2015