Publication: Naufragio con espectador. La fetichización del Holocausto en el cine. Comentarios sobre el filme Shoah de Claude Lanzmann enfrentado a otros filmes sobre el Holocausto
Loading...
Official URL
Full text at PDC
Publication Date
2017
Authors
Advisors (or tutors)
Editors
Journal Title
Journal ISSN
Volume Title
Publisher
Citations
Exportar
Abstract
Se ha hablado extensamente acerca del problema de la sobreexposición actual del individuo a imágenes violentas, y de la posibilidad de que este hecho acabe por mermar la conmoción de éste respecto a ellas; de que la pantalla, como creadora de realidades, termine por banalizar el horror al mismo tiempo que lo muestra. Este hecho, por otro lado, se ha dado ampliamente en el cine y, sin embargo, la atención rara vez se pone sobre este campo. Por otro lado, raro es, asimismo, el año en que no aparece en cartelera otra película sobre el Holocausto, la guerra civil española, el régimen nazi o la esclavitud negra en América. Estas piezas, inevitablemente, calan en el espectador y dan forma a su entendimiento de los hechos históricos representados. Sin embargo, ¿qué tan exactas son dichas representaciones? ¿en qué medida no trivializan el hecho en cuestión? ¿cuál es la posición del espectador frente a este desastre? Este texto supone una investigación en torno a éstos y otros interrogantes.
There have been extensive discussions about the problem of the current overexposure of the individual to violent images, and the possibility that this event ends up diminishing the commotion of the individual with respect to them; that the screen, as a creator of realities, ends up trivializing the horror at the same time that it shows it. This fact, on the other hand, has been widely given in the cinema and, nevertheless, the attention is rarely put on this field. On the other hand, rare is also the year when another film about the Holocaust, the Spanish Civil War, the Nazi regime or black slavery in America does not appear on the billboard. These pieces, inevitably, penetrate the viewer and shape their understanding of the historical facts represented. However, how accurate are these representations? To what extent do they not trivialize the fact in question? What is the viewer's position in the face of this disaster? This text is an investigation around these and other questions.
There have been extensive discussions about the problem of the current overexposure of the individual to violent images, and the possibility that this event ends up diminishing the commotion of the individual with respect to them; that the screen, as a creator of realities, ends up trivializing the horror at the same time that it shows it. This fact, on the other hand, has been widely given in the cinema and, nevertheless, the attention is rarely put on this field. On the other hand, rare is also the year when another film about the Holocaust, the Spanish Civil War, the Nazi regime or black slavery in America does not appear on the billboard. These pieces, inevitably, penetrate the viewer and shape their understanding of the historical facts represented. However, how accurate are these representations? To what extent do they not trivialize the fact in question? What is the viewer's position in the face of this disaster? This text is an investigation around these and other questions.