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La Identidad De Los Personajes De Los Personajes En La Obra Del Director De Anime Satoshi Kon Y Su Vinculación Con El Movimiento Artístico Superflat

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La Identidad De Los Personajes De Los Personajes En La Obra Del Director De Anime Satoshi Kon Y Su Vinculación Con El Movimiento Artístico Superflat UNIVERSIDAD COMPLUTENSE DE MADRID FACULTAD DE CIENCIAS DE LA INFORMACIÓN Departamento de Comunicación Audiovisual y Publicidad II TESIS DOCTORAL La identidad de los personajes de los personajes en la obra del director de anime Satoshi Kon y su vinculación con el movimiento artístico Superflat MEMORIA PARA OPTAR AL GRADO DE DOCTOR PRESENTADA POR Alfonso Ricardo Felipe López Directora Cristina Manzano Espinosa Madrid, 2017 © Alfonso Ricardo Felipe López, 2016 UNIVERSIDAD COMPLUTENSE DE MADRID Facultad Ciencias de la Información Departamento de Comunicación Audiovisual y Publicidad II La identidad de los personajes en la obra del director de anime Satoshi Kon y su vinculación con el movimiento artístico Superflat Alfonso Ricardo Felipe López Directora de Tesis Cristina Manzano Espinosa AGRADECIMIENTOS. Quisiera agradecer en primer lugar a mi directora de tesis Cristina Manzano Espinosa, por sus enseñanzas y dedicación a lo largo del mismo. También quisiera dar las gracias a la Facultad de Ciencias de la Información y en especial al Departamento de Comunicación Audiovisual y Publicidad II por acogerme y permitirme realizar esta investigación. En segundo lugar me gustaría poder agradecer a mis padres todo el apoyo, ánimos y cuidados brindados durante todo el proceso de desarrollo de la investigación. A veces sacando de quicio al que suscribe; pero siempre motivando y, sobre todo, haciéndome disfrutar de su cariño en cada momento. También me gustaría mostrar también mi agradecimiento a todas aquellas personas que han estado conmigo a lo largo de estos años. A mis abuelos, a los cuales todavía echo de menos; pero que sé que siguen velando por mí. A mis tíos y primos, siempre preocupados e interesados por lo que hago, gracias por todo lo que me habéis aportado siempre. A mis queridos amigos Elena y Alex, por haber sido un apoyo constante y haberme hecho reír en incontables ocasiones. A los miembros de la mejor productora del mundo (y del inframundo): Pablo, Diego, Rafa y Luis, por todo lo que hemos pasado juntos y todo lo que pasaremos. A mis queridos amigos de Truñan: Rafa, Rodrigo, Carras, Pascual, Juan Carlos y Teo; porque hay lazos que se mantienen a lo largo de los años y cada vez son más fuertes. A Eva, por su labor motivacional y su ayuda de valor incalculable. A mis compañeros judocas y Coliflowers varios, y en especial a Hugo, Guille, Quique, Guaya, Roberto, Joaco, Maca y mis maestros Raúl y Macario; porque una buena proyección y una cerveza es todo lo que uno necesita para despejarse. A mis compañeros de japonés: Inma, Enrique, Sonia, Anahí, Cristina, Celia, Alejandro, Belén y nuestras senseis Natsumi y Yuko; porque la palabra más importante que he aprendido en japonés es nakama. A Joaco, porque sé que tengo un amigo en ti y que acabaremos liados en muchas nuevas empresas, alguna de ellas puede que hasta inteligentes. A mis amigos de Avión, sin los cuales las vacaciones serían mucho menos divertidas. A mis compañeros de andanzas en campos 2 varios: Carlos, María, Alazne, Sofi, Agus, Claudia, David; porque el tiempo invertido en vosotros es el que reporta más grandes beneficios. También gracias a Laura Montero por su ayuda en el comienzo de la investigación. A los profesores y docentes que me han aportado parte de su saber a lo largo de los años, en especial a los que me han transmitido su pasión por el cine, destacando a: Mar Marcos Molano, Juan Orellana, Jorge Clemente, Ignacio Armada, Gerardo Álvarez, Luis Eugenio Togores, Leopoldo Abad, José Jacoste, Javier Carrillo, Javier Olivares, Eduardo Nolla, Cristina Barreiro, Antonio Castro, Miguel Ángel Matilla, Mª Dolores Serrano, Alfonso Carnicero y Melchor Salaya. Muchas gracias por los esfuerzos dedicados a tratar de convertirme en una persona medio decente. Y por último, a Satoshi Kon, uno de los grandes directores cuya impecable trayectoria se ha visto truncada por su temprana muerte. Gracias por los grandes ratos disfrutando de tus películas. Sin todos vosotros esta tesis no habría sido posible. 3 INDICE. RESUMEN ................................................................................................................................ 7 ABSTRACT ........................................................................................................................... 11 PALABRAS CLAVE/KEY WORDS. ............................................................................. 14 Español: ......................................................................................................................................... 14 English: .......................................................................................................................................... 14 1- CAPÍTULO METODOLÓGICO .................................................................................. 15 1.1- Objeto de estudio .............................................................................................................. 15 1.2- Estado de la cuestión ...................................................................................................... 20 1.3- Hipótesis ............................................................................................................................... 36 1.4- Objetivos ............................................................................................................................... 38 1.4.1- Explicar el concepto de identidad en el cine de Satoshi Kon y el Superflat. ........................................................................................................................................................................... 38 1.4.2- Desarrollar un sistema de análisis de personajes que nos permita determinar los rasgos principales de los mismos y compararlos con los del movimiento new pop japonés. ........................................................................................................... 39 1.4.3- Explorar la importancia de la focalización en la obtención de datos para conformar la identidad de los personajes. .................................................................................. 40 1.4.4- Exponer cuál es el origen y las características fundamentales del movimiento artístico japonés Superflat. ....................................................................................... 40 1.4.5- Tipificar la temática y los recursos narrativos principales empleados por el autor en sus relatos. ............................................................................................................................... 41 1.5- Herramienta metodológica ............................................................................................ 41 2- ANALISIS DEL MOVIMIENTO SUPERFLAT ....................................................... 45 2.1- Existencia de un Japón probable, aunque posiblemente fantástico o fantaseado .................................................................................................................................... 45 2.2- Una sociedad japonesa en crisis existencial y llena de contradicciones. 53 2.3- El concepto de kawaii en la sociedad japonesa ................................................... 58 2.4- El anime como forma de mostrar una realidad deformada para la sociedad japonesa ........................................................................................................................................ 64 2.5- Esperanza y desilusión en la tecnología y en las visiones del futuro ........ 68 2.6- Influencias de Kon comunes a las referencias enumeradas por Murakami del movimiento Superflat ........................................................................................................ 76 2.7-Rasgos del movimiento. .................................................................................................. 80 3.1- Definición de identidad en la investigación: conciencia y personalidad. 82 3.1.1- Conciencia y el criterio de la memoria. ........................................................................... 82 3.1.2- Personalidad: temperamento y carácter. ....................................................................... 83 3.2- El concepto de rasgo y su constitución de la personalidad ........................... 85 3.3- Factores a tener en cuenta a la hora de seleccionar los rasgos ................... 88 3.4- La focalización .................................................................................................................... 90 3.3- La importancia del nombre en el relato ................................................................... 94 3.6- Esquema de análisis de la identidad de los personajes ................................... 95 4. ANALISIS PERFECT BLUE ....................................................................................... 98 4.1- Análisis de la identidad de los personajes ............................................................. 98 4.1.1- Mima Kirigoe. ................................................................................................................................ 98 4.1.2- Rumi Hidaka. ............................................................................................................................. 105 4.1.3- Uchida (Me-maniac). ............................................................................................................. 110 4.1.4- Tadokoro. .................................................................................................................................... 116 4.1.5- Rei y Yukiko. .............................................................................................................................
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