Publication: El cine: lo santo y lo violento. De la historia a la hermenéutica
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2017-04-19
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Universidad Complutense de Madrid
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Abstract
La tesis doctoral titulada El cine: lo santo y lo violento. De la historia a la hermenéutica analiza las relaciones entre las películas de Martin Scorsese, Paul Verhoeven, Paul Schrader, Abel Ferrara y Lars von Trier aplicando al estudio del cine los conceptos de “lo santo” y “lo violento”. A partir de una historia de los vínculos entre el cine, la religión y la violencia se interpretan las obras con una perspectiva innovadora e integradora: una hermenéutica del cine inspirada en la estética de la recepción que permite atender a las múltiples dimensiones del objeto cinematográfico, como artefacto y producto cultural, en el ejercicio de un diálogo continuo. El texto está dividido en tres partes. La primera, “Introducción y justificaciones teóricas”, reúne consideraciones generales y reflexiones metodológicas, y presenta una contextualización de las cinco filmografías y una revisión de la investigación académica sobre los elementos religiosos del discurso cinematográfico. La segunda, “Una visión histórica: violencia, religión y cine”, profundiza en los conceptos a emplear y desarrolla los antecedentes cinematográficos en relación a los términos “violencia” y “religión”, incluyendo un examen del cine épico-bíblico y del cine trascendental, entre otros. La tercera, “Lo santo y lo violento en la obra de Martin Scorsese, Paul Verhoeven, Paul Schrader, Abel Ferrara y Lars von Trier”, contiene propiamente el análisis, que se despliega en torno a cinco películas (cada una dirigida por uno de los cineastas): Taxi driver, El cuarto hombre, Posibilidad de escape, Teniente corrupto y Dogville. El rendimiento del análisis y del entramado teórico que sustenta el trabajo de investigación queda finalmente probado en tres direcciones: al favorecer una aproximación al estudio de un determinado cine no limitada al uso de categorías del tipo de “cine religioso” y “cine posmoderno”; al relacionar de modo efectivo el conjunto de las obras, dando lugar a nuevos conceptos como el de “ciudad terrena cinematográfica” que podrían aplicarse al análisis de otros filmes y géneros; y al posibilitar una especulación hermenéutica y filosófica de mayor calado sobre lo que el cine es y sobre la atribución de los espectadores en la producción de significados.
The aim of the doctoral thesis entitled Film: The Holy and The Violent. From History to Hermeneutics is to analyze the works of Martin Scorsese, Paul Verhoeven, Paul Schrader, Abel Ferrara and Lars von Trier and their treatment of “the Holy” and “the Violent” themes in film. First, we explore the historical link between film, religion and violence and then we interpret the works with an inclusive and innovative perspective: an hermeneutical approach inspired by reception aesthetics which allows us to address the multiple aspects of the cinematographic object —as an artefact and as a cultural product— in an ongoing and thorough dialogue. The doctoral thesis is divided into three sections. The first, “Introduction and Theoretical Justifications”, gathers general considerations and methodological reflections, along with a contextualization of the filmographies and a review of the diverse academic research on the religious elements of the cinematic discourse. The second, “A Historical Perspective: Violence, Religion and Film”, discusses the concepts being used and expounds on film history in relation to the terms “violence” and “religion”, including an examination of biblical epics and trascendental cinema, among others. The third, “The Holy and the Violent in the Works of Martin Scorsese, Paul Verhoeven, Paul Schrader, Abel Ferrara and Lars von Trier”, contains the analysis itself, which begins with the interpretation of five films (each directed by one of the five filmmakers mentioned): Taxi Driver, The Fourth Man, Light Sleeper, Bad Lieutenant and Dogville. The analysis and the theoretical basis are tested in three ways: promoting an approach to film studies of a given type of cinema not limited to categories such as “religious film” and “postmodernism”; effectively relating the whole works of the filmmakers and giving rise to new concepts such as “the cinematographic earthly city” that can be used in the analysis of other films and genres; and allowing for philosophical speculation on film theory, principally about the nature of film and the power of spectators in the making of meaning.
The aim of the doctoral thesis entitled Film: The Holy and The Violent. From History to Hermeneutics is to analyze the works of Martin Scorsese, Paul Verhoeven, Paul Schrader, Abel Ferrara and Lars von Trier and their treatment of “the Holy” and “the Violent” themes in film. First, we explore the historical link between film, religion and violence and then we interpret the works with an inclusive and innovative perspective: an hermeneutical approach inspired by reception aesthetics which allows us to address the multiple aspects of the cinematographic object —as an artefact and as a cultural product— in an ongoing and thorough dialogue. The doctoral thesis is divided into three sections. The first, “Introduction and Theoretical Justifications”, gathers general considerations and methodological reflections, along with a contextualization of the filmographies and a review of the diverse academic research on the religious elements of the cinematic discourse. The second, “A Historical Perspective: Violence, Religion and Film”, discusses the concepts being used and expounds on film history in relation to the terms “violence” and “religion”, including an examination of biblical epics and trascendental cinema, among others. The third, “The Holy and the Violent in the Works of Martin Scorsese, Paul Verhoeven, Paul Schrader, Abel Ferrara and Lars von Trier”, contains the analysis itself, which begins with the interpretation of five films (each directed by one of the five filmmakers mentioned): Taxi Driver, The Fourth Man, Light Sleeper, Bad Lieutenant and Dogville. The analysis and the theoretical basis are tested in three ways: promoting an approach to film studies of a given type of cinema not limited to categories such as “religious film” and “postmodernism”; effectively relating the whole works of the filmmakers and giving rise to new concepts such as “the cinematographic earthly city” that can be used in the analysis of other films and genres; and allowing for philosophical speculation on film theory, principally about the nature of film and the power of spectators in the making of meaning.
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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 13/01/2016