Publication: Entre Dos Mundos : la Metaficción en Mulholland Drive
Loading...
Official URL
Full text at PDC
Publication Date
2020-09-04
Authors
Advisors (or tutors)
Editors
Journal Title
Journal ISSN
Volume Title
Publisher
Citations
Exportar
Abstract
Mulholland Drive es una obra capaz de ser analizada desde varios puntos de vista. Sin embargo, si realizamos un acercamiento analítico hacia ella basándonos únicamente en los principios de la metaficción encontraremos un despliegue íntegro de los mismos.
La obra escogida se abre camino entre la tradición metaficcional desarrollando un elaborado discurso metalingüístico conducido por los recursos estilísticos y formales intrínsecos de cualquier texto audiovisual, dotándolos de una dimensión eficaz y concreta en lo que la metaficción respecta.
Es a través de estos recursos como se llevan a cabo prácticas de referencialidad como la intertextualidad o la intratextualidad, declarando así la posición desde la cual se narra, deslineando toda frontera y, por tanto, exponiendo a la audiencia la presencia de varias existencias -reales y ficticias- que convergen paulatinamente hasta que colisionan en la butaca del espectador.
Mulholland Drive is a work able of being analyzed from several points of view. However, if we make an analytical approach to it emphasizing the principles of metafiction, we will identify a full development of them. This movie breaks through the metafictional tradition displaying an elaborate metalinguistic lecture ruled by the inherent stylistic and formal techniques of any audiovisual construction, endowing them an effective and concrete dimension in metafictional terms. It’s through these techniques that referential practices such as intertextuality or intratextuality are accomplished, stating the position from which the movie was constructed, breaking all borders and, therefore and exposing to the audience the presence of different -real and ficticious- existences that gradually converge until they finally clash into the viewer’s seat.
Mulholland Drive is a work able of being analyzed from several points of view. However, if we make an analytical approach to it emphasizing the principles of metafiction, we will identify a full development of them. This movie breaks through the metafictional tradition displaying an elaborate metalinguistic lecture ruled by the inherent stylistic and formal techniques of any audiovisual construction, endowing them an effective and concrete dimension in metafictional terms. It’s through these techniques that referential practices such as intertextuality or intratextuality are accomplished, stating the position from which the movie was constructed, breaking all borders and, therefore and exposing to the audience the presence of different -real and ficticious- existences that gradually converge until they finally clash into the viewer’s seat.