Publication: El exceso a través del cronotopo: La isla mínima (2014) y las Marismas del Guadalquivir
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2016-09
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Abstract
La última película de Alberto Rodríguez tiene un cronotopo bien definido: la transición española (principios de los años ochenta) en las marismas del río Guadalquivir. Allí tiene lugar un thriller en el que sus protagonistas (al menos uno de ellos) descubren a la vez al responsable de un crimen y a la España en la que viven. La investigación que nos proponemos llevar a cabo amplía la teoría del análisis fílmico y plantea el estudio de un caso desde la perspectiva del microanálisis fílmico propuesto por Santos Zunzunegui. Se estudiarán los elementos relacionados con el cronotopo así como las estrategias estilísticas utilizadas por el director para elaborar algunos momentos de la película. Es a través de la puesta en escena como su director crea ese mundo, un espacio, un tiempo, una mirada; con ella inserta su película en un cronotopo determinado. Pero la puesta en escena puede cumplir diversas funciones a la vez. Para ello, estudiaremos en detalle las imágenes que sirven de inicio del film y de transiciones en la película, esos planos cenitales de las marismas. También analizaremos algunos de los motivos que se repiten, que seleccionamos siguiendo el criterio de escoger aquellos que menos necesarios parezcan ser para el desarrollo de la trama. Con este análisis nos proponemos demostrar que el efecto del exceso que menciona Kristin Thompson, la experiencia sensorial, supera la peripecia narrativa. Nuestra hipótesis es que la puesta en escena del espacio-tiempo, y la visión del mundo que se desprende de ella, se convierten aquí en la verdadera experiencia del film.
The last film of Alberto Rodriguez has a well defined chronotope: the Spanish transition to democracy (beginnings of the eighties) in the marshes of the Guadalquivir River. It's there where this thriller happens, on which its main roles (at least one of them) discover at once the responsible of a killing and the Spain the live in. The investigation we plan to do widens the theory of filmic analysis and it is a study of a case from the perspective of filmic microanalysis, as proposed by Santos Zunzunegui. It will study the elements belonging to the chronotope and also the stylistic strategies used by the director to created some moments of the movie. It is through mise en scène that the director creates this world, a place, a time, a way of seeing; with it, he inserts his film on a clear chronotope. But mise en scène can accomplish may different functions at the same time. We will study in detail the images that start the movie, those aerial shots of the marshlands. Also, some of the motifs repeated during the film, choosing them by the criteria of being the least necessaries for the advance of the plot. With this analysis, we plan to demonstrate that the excess mentioned by Kristin Thompson, the sensory experience, overcomes the narrative. Our hypothesis is that mise en scène and the vision of the world that it offers, becomes the real experience of the film.
The last film of Alberto Rodriguez has a well defined chronotope: the Spanish transition to democracy (beginnings of the eighties) in the marshes of the Guadalquivir River. It's there where this thriller happens, on which its main roles (at least one of them) discover at once the responsible of a killing and the Spain the live in. The investigation we plan to do widens the theory of filmic analysis and it is a study of a case from the perspective of filmic microanalysis, as proposed by Santos Zunzunegui. It will study the elements belonging to the chronotope and also the stylistic strategies used by the director to created some moments of the movie. It is through mise en scène that the director creates this world, a place, a time, a way of seeing; with it, he inserts his film on a clear chronotope. But mise en scène can accomplish may different functions at the same time. We will study in detail the images that start the movie, those aerial shots of the marshlands. Also, some of the motifs repeated during the film, choosing them by the criteria of being the least necessaries for the advance of the plot. With this analysis, we plan to demonstrate that the excess mentioned by Kristin Thompson, the sensory experience, overcomes the narrative. Our hypothesis is that mise en scène and the vision of the world that it offers, becomes the real experience of the film.