Publication: Lo grotesco como crítica social en el cine mexicano actual
Loading...
Files
Official URL
Full text at PDC
Publication Date
2021-03-01
Authors
Advisors (or tutors)
Editors
Journal Title
Journal ISSN
Volume Title
Publisher
Universidad Complutense de Madrid
Citations
Exportar
Abstract
La presente investigación consiste en el análisis de la función y capacidad crítica social y contestataria de lo grotesco en el cine mexicano contemporáneo, desde el examen y esclarecimiento de, por un lado, los tipos fundamentales de grotesco en el arte en general y en el cine en particular, y, por otro lado, de los elementos vinculados a lo grotesco que operan en el imaginario mexicano. A continuación, he centrado mi análisis en cuatro largometrajes: Un mundo maravilloso (Estrada, 2006), Halley (2012, Hofmann), La región salvaje (Escalante,2016) y Vuelven (López, 2017), - todos ellos con intención de denuncia social-, aplicando los conceptos vinculados a lo grotesco tales como lo monstruoso, lo traumático, lo abyecto, lo macabro, lo carnavalesco, lo asombroso, etc. Constatando en cada una de las películas que lo grotesco, constituye un dispositivo fundamental para la elaboración de discursos contra hegemónicos de las realidades sociales oprimidas y marginales, como elemento esencial del imaginario humano que funciona desde la ambivalencia, inversión y transgresión de los entramados hegemónicos.
This research consists in the analysis of the function and critical capacity of the grotesque in contemporary Mexican cinema. On the one hand, I examined and clarified the fundamental types of grotesque in art in general, and in cinema in particular. On the other hand, I explored the elements linked to the grotesque that operate in the Mexican imaginary. Next, I have focused my analysis on four feature films which have a critical approach: A Wonderful World (Estrada, 2006), Halley (2012, Hofmann), The Wild Region (Escalante, 2016) and Tigers are not afraid (López, 2017). I applied them the concepts linked to the grotesque such as the monstrous, traumatic, the abject, the macabre, the carnival, the astonishing, etc. Verifying that the grotesque constitutes a fundamental device for the elaboration of counter-hegemonic discourses the oppressed and marginal social realities, as an essential element of the human imaginary that works from the ambivalence, inversion and transgression of mainstream structural frameworks.
This research consists in the analysis of the function and critical capacity of the grotesque in contemporary Mexican cinema. On the one hand, I examined and clarified the fundamental types of grotesque in art in general, and in cinema in particular. On the other hand, I explored the elements linked to the grotesque that operate in the Mexican imaginary. Next, I have focused my analysis on four feature films which have a critical approach: A Wonderful World (Estrada, 2006), Halley (2012, Hofmann), The Wild Region (Escalante, 2016) and Tigers are not afraid (López, 2017). I applied them the concepts linked to the grotesque such as the monstrous, traumatic, the abject, the macabre, the carnival, the astonishing, etc. Verifying that the grotesque constitutes a fundamental device for the elaboration of counter-hegemonic discourses the oppressed and marginal social realities, as an essential element of the human imaginary that works from the ambivalence, inversion and transgression of mainstream structural frameworks.
Description
Tesis inédita de la Universidad Complutense de Madrid, Facultad de Ciencias de la Información, leída el 22-01-2021