Publication: Poéticas de lo incumplido: el sujeto del ensayo audiovisual
Loading...
Official URL
Full text at PDC
Publication Date
2019-06-10
Authors
Advisors (or tutors)
Editors
Journal Title
Journal ISSN
Volume Title
Publisher
Universidad Complutense de Madrid
Citations
Exportar
Abstract
Este estudio se plantea como una investigación sobre la operatividad del ensayo audiovisual a partir de la índole de la subjetividad que éste produce. La acotación responde a dos dimensiones que constituyen el acto de ensayar. La primera, relativa a la apertura del yo en la obra, reflexiona sobre quién habla, cómo lo hace y qué significa hablar en nombre propio, teniendo por materia lo audiovisual. La segunda dimensión atañe al mundo, al que el yo que se abre, y cuestiona los modos de su representación. Lo que ambos aspectos ponen en juego es una salida poética y política a la imposibilidad de relato personal en las condiciones culturales en las que el sujeto contemporáneo se construye. A partir del análisis de obras y procesos ensayísticos, así como de la crítica del progreso desde Nietzsche, Benjamin, Deleuze, Lezama y otros pensadores de la imagen en la historia, se desarrollan así dos líneas generales: la que concierne a la producción de subjetividad en el proceso de creación, y la que observa de ésta su raíz cultural y política. En términos específicos, se investiga la apertura del yo en estos sentidos: del pensamiento logocéntrico a la cualidad de lo visual, y de la organización temporal a la estructura del instante. Para confrontar estas cuestiones con procesos ensayísticos en pleno desarrollo, se analizan los resultados de un laboratorio de cine-ensayo realizado durante esta investigación. Es la oportunidad para asistir a la apertura del yo de quien ensaya, mientras tiene lugar la transformación de una idea en una película posible o imposible
The dissertation elaborates on the mechanics of the essay film based on the nature of the subjectivity it generates. This focus responds to two dimensions that constitute the act of essaying with image and sound. The first, relative to the opening up of the self in a work, reflects on who speaks, how that “I” speaks, and what it means to speak in first-person with the audiovisual as medium. The second dimension concerns the world to which the self opens itself up, and investigates the modes of its representation. What both aspects bring into play is a poetic and political way out of the impossibility of creating a personal narrative under the cultural conditions in which the contemporary subject is constructed. From the analysis of essayistic works and processes, as well as the critique of progress from Nietzsche, Benjamin, Deleuze, Lezama and other thinkers of the image in history, two general lines are thus developed: the one that concerns the production of subjectivity in the process of creation, and another one that observes its cultural and political roots. In specific terms, the emergence of a subject beyond the “I” is investigated in these senses: from logocentric thinking to the characteristic of the visual, and from temporal organisation to the structure of the instant. In order to confront these questions with essayistic processes, the results of a film-essay laboratory undertaken during this research are analysed. It is the opportunity to attend the dissolution of the "I" who essays, while the transformation of an idea into a possible or impossible film takes place.
The dissertation elaborates on the mechanics of the essay film based on the nature of the subjectivity it generates. This focus responds to two dimensions that constitute the act of essaying with image and sound. The first, relative to the opening up of the self in a work, reflects on who speaks, how that “I” speaks, and what it means to speak in first-person with the audiovisual as medium. The second dimension concerns the world to which the self opens itself up, and investigates the modes of its representation. What both aspects bring into play is a poetic and political way out of the impossibility of creating a personal narrative under the cultural conditions in which the contemporary subject is constructed. From the analysis of essayistic works and processes, as well as the critique of progress from Nietzsche, Benjamin, Deleuze, Lezama and other thinkers of the image in history, two general lines are thus developed: the one that concerns the production of subjectivity in the process of creation, and another one that observes its cultural and political roots. In specific terms, the emergence of a subject beyond the “I” is investigated in these senses: from logocentric thinking to the characteristic of the visual, and from temporal organisation to the structure of the instant. In order to confront these questions with essayistic processes, the results of a film-essay laboratory undertaken during this research are analysed. It is the opportunity to attend the dissolution of the "I" who essays, while the transformation of an idea into a possible or impossible film takes place.
Description
Tesis de la Universidad Complutense de Madrid, Facultad de Filosofía, Departamento de Filosofía y Sociedad, leída el 08-03-2018