Publication: El cine: realidad, consciencia, simbolismo y praxis (Contribución a una filosofía del audiovisual)
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2017-04-26
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Universidad Complutense de Madrid
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Abstract
La presente investigación pretende aportar herramientas para una renovación de la teoría cinematográfica desde el ámbito de la filosofía. Renovar una teoría no es sino renovar aquello que la empuja y la sostiene, lo que es en ella condición de posibilidad, esto es, el pensamiento. Consideramos que si dicha teoría se encuentra en ocasiones anquilosada se debe a la existencia de ciertos obstáculos tanto en el discurrir del pensamiento como en el de una cultura, originados por la aparición de paradojas y problemas que no permiten adecuar la totalidad de la teoría a la totalidad de la experiencia. Para lograr dicha adecuación, hemos hecho de la teoría un relato, cruce de tres filosofías con tres cines; esto es, un debate-relato sobre lo real social, las imágenes de la identidad y los cines de la diferencia. Queremos ser consecuentes con la idea que toma lo fílmico como producción y efecto diegético, es decir, la idea que la experiencia cinematográfica sucede tanto delante de la cámara como detrás de ésta, tanto a nivel del emisor por intencionalidad como del receptor por transferencia. Una teoría que pretenda explicar el fenómeno de lo fílmico debería atender a la relación entre el análisis de las películas y la evaluación social de las prácticas que las hacen posibles. El equilibrio en esta correlación es a menudo un aspecto olvidado dentro de las teorías que, aún teniendo en cuenta ambos aspectos, acaban priorizando uno por encime del otro; olvidando con frecuencia que sólo un sentido subyacente e intrahistórico es capaz de anudar y dirigir tal correlación entre praxis y representación. Este sentido es la intencionalidad de la consciencia, mezcla de racionalidad y deseo, que se despliega como marco intencional tanto a escala individual como colectiva, prefigurando el cuadrilétero antropológico de nuestra mirada y nuestras experiencias, esto es, el filtro metafísico, epistemológico, ético y estético a través del cuál nuestra consciencia vive el mundo...
The current research tries to give tools to achieve a renovation of the cinematographic theory from a philosophical perspective. To renew a theory is nothing but to renew what pushes and holds it, which is its condition of possibility, that is, the thought. We consider that if this theory is sometimes stiff it is because of the existence of certain obstacles not only in the thought flowing but also in culture, created by the appearence of paradoxes and problems which do not allow to adjust the totality of the theory to the totality of the experience. To achieve the adequacy, we have do a story of this theory, cross between three philosophies and three cinemas; this is, a debate-story on the social real, the images of identity and the cinemas of the difference. We want to be consistent with the idea that takes the filmic as production and diegetic effect, that's to say, the idea that the cinematographic experience happens in front of the camera but also behind it, on one hand at the level of the speaker because of intentionality and on the other hand in the level of the receiver because of transference. A theory that attempts to explain the phenomenon of the filmic should pay attention to the relation between the film's analysis and the social evaluation of the practices that make them possible. The balance in the correlation is often a forgotten aspect within the theories that, even taking into account both aspects, end up prioritizicing one above the other; frequently forgetting that only an underlying and intrahistorical sense is able to tie and direct that correlation between praxis and representation. This sense is the intentionality of conscience, as a mix of racionality and desire, that displays itself as an intentional frame, not only as an individual scale but also as a collective one, prefiguring the anthropological quadrilateral of our look and our experiences, that is, the metaphysical, epistemological, ethic and aesthetic filter through which our conscience lives the world...
The current research tries to give tools to achieve a renovation of the cinematographic theory from a philosophical perspective. To renew a theory is nothing but to renew what pushes and holds it, which is its condition of possibility, that is, the thought. We consider that if this theory is sometimes stiff it is because of the existence of certain obstacles not only in the thought flowing but also in culture, created by the appearence of paradoxes and problems which do not allow to adjust the totality of the theory to the totality of the experience. To achieve the adequacy, we have do a story of this theory, cross between three philosophies and three cinemas; this is, a debate-story on the social real, the images of identity and the cinemas of the difference. We want to be consistent with the idea that takes the filmic as production and diegetic effect, that's to say, the idea that the cinematographic experience happens in front of the camera but also behind it, on one hand at the level of the speaker because of intentionality and on the other hand in the level of the receiver because of transference. A theory that attempts to explain the phenomenon of the filmic should pay attention to the relation between the film's analysis and the social evaluation of the practices that make them possible. The balance in the correlation is often a forgotten aspect within the theories that, even taking into account both aspects, end up prioritizicing one above the other; frequently forgetting that only an underlying and intrahistorical sense is able to tie and direct that correlation between praxis and representation. This sense is the intentionality of conscience, as a mix of racionality and desire, that displays itself as an intentional frame, not only as an individual scale but also as a collective one, prefiguring the anthropological quadrilateral of our look and our experiences, that is, the metaphysical, epistemological, ethic and aesthetic filter through which our conscience lives the world...
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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 11/02/2016