Publication: La fragmentación en el discurso cinematográfico de ficción de Jean-Luc Godard
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2018-06-01
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Universidad Complutense de Madrid
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Abstract
El propósito de nuestra investigación es demostrar que el director de cine Jean-Luc Godard construye sus películas de ficción como un discurso fragmentado con el objetivo de poner de manifiesto la relatividad del discurso cinematográfico y del lenguaje. Consideramos que Godard es el cineasta que ha llevado más lejos la lógica discursiva fragmentaria en el cine de ficción por lo que el análisis de su filmografía nos ofrece la oportunidad de identificar y describir qué es un discurso cinematográfico fragmentado, cuál es su origen histórico y semiológio y cuáles son las diferentes vertientes y herramientas de fragmentación que ofrece el cine de ficción como medio expresivo. Bajo esta perspectiva, nuestra investigación está destinada, por un lado, a aportar luz sobre una obra caracterizada por el hermetismo y la dificultad de acceso como es el cine de Godard ofreciendo una nueva perspectiva sobre la misma y, por otro lado, a servir como guía para el desarrollo de una práctica cinematográfica inspirada en la vanguardia arísitca, en la ruptura de la unidad discursiva y en el desarrollo de una inspiración alternativa al discurso institucional en cualquiera de sus formas y ámbitos. Los análisis elaborados en torno a la obra de Godard han manejado los términos collage y fragmentación pero sin llegar ofrecer una guía detallada de todos los ámbitos y posibilidades que el discurso cinematográfico de ficción ofrece a la fragmentación por lo que consideramos que un análisis pormenorizado de los recursos utilizados por Godard se presenta como una tarea tan compleja como imprescindible. Defendemos como planteamiento de partida que el cine ha sido desde su nacimiento un medio idóneo para articular un discurso alternativo capaz de romper con la práctica totalizadora del discurso unitario ya que la fragmentación se encuentra en su propia naturaleza a través de la sucesión de fotogramas siendo cada fotograma un fragmento. Consideramos que el discurso cinematográfico surge como estructuración de fragmentos a través de la articulación entre campo y fuera de campo, banda de imagen y banda de sonido y en la sucesión de planos y secuencias mediante el montaje...
Our main purpose is to demonstrate how the film director Jean-Luc Godard elaborates his fiction films as a fragmented discourse with the aim of revealing the relativity of both the cinematographic discourse and the language. We consider Godard as the filmmaker who has taken further the fragmentary discursive logic in fiction cinema. The analysis of Godard‟s filmography offers us the opportunity to identify and describe what is a fragmented cinematographic discourse, which is its historical and semiological origin and what are the different narrative fragmentation tools offered by fiction cinema as an artistic expression. From this perspective, our research is intended, on the one hand, to shed light on a so hermetic work such as Godard's cinema offering a new perspective on it and, on the other hand, to create a guide for a cinematographic practice inspired by the artistic avant-garde, the rupture of the discursive unity and the development of a personal and alternative inspiration capable to confront the institutional discourse in any of its forms and spheres. Previous research on Godard work connected terms such as collage and fragmentation with his films but they didn‟t provide a detailed guide of all the scopes and possibilities that fictional cinematographic discourse offers under a fragmented perspective. That is the reason why we consider that offering a detailed analysis on the resources used by Godard is a complex research task but indispensable at the same time. We consider cinema the most suitable means to articulate an alternative discourse capable of breaking the totalizing practice of unitary discourse. Fragmentation is located in the core of cinematic image through the succession of frames. The cinematographic discourse arises at the same time as a fragmented structure through the articulation between in and off, image and soundtrack and in the succession of sequences through editing...
Our main purpose is to demonstrate how the film director Jean-Luc Godard elaborates his fiction films as a fragmented discourse with the aim of revealing the relativity of both the cinematographic discourse and the language. We consider Godard as the filmmaker who has taken further the fragmentary discursive logic in fiction cinema. The analysis of Godard‟s filmography offers us the opportunity to identify and describe what is a fragmented cinematographic discourse, which is its historical and semiological origin and what are the different narrative fragmentation tools offered by fiction cinema as an artistic expression. From this perspective, our research is intended, on the one hand, to shed light on a so hermetic work such as Godard's cinema offering a new perspective on it and, on the other hand, to create a guide for a cinematographic practice inspired by the artistic avant-garde, the rupture of the discursive unity and the development of a personal and alternative inspiration capable to confront the institutional discourse in any of its forms and spheres. Previous research on Godard work connected terms such as collage and fragmentation with his films but they didn‟t provide a detailed guide of all the scopes and possibilities that fictional cinematographic discourse offers under a fragmented perspective. That is the reason why we consider that offering a detailed analysis on the resources used by Godard is a complex research task but indispensable at the same time. We consider cinema the most suitable means to articulate an alternative discourse capable of breaking the totalizing practice of unitary discourse. Fragmentation is located in the core of cinematic image through the succession of frames. The cinematographic discourse arises at the same time as a fragmented structure through the articulation between in and off, image and soundtrack and in the succession of sequences through editing...
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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 05/07/2017