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TESIS: El Recurso Narrativo De Grabación Encontrada En El Cine De UNIVERSIDAD NACIONAL AUTÓNOMA DE MÉXICO FACULTAD DE CIENCIAS POLÍTICAS Y SOCIALES El Recurso Narrativo de Grabación Encontrada en el Cine de Terror del Nuevo Milenio T E S I S QUE PARA OBTENER EL TÍTULO DE: LICENCIADO EN CIENCIAS DE LA COMUNICACIÓN PRESENTA OSCAR ALBERTO ORTIZ MERCADO DIRECTOR DE TESIS: PROF. RUBEN SANTAMARÍA VÁZQUEZ MÉXICO, D.F. DICIEMBRE DE 2013 UNAM – Dirección General de Bibliotecas Tesis Digitales Restricciones de uso DERECHOS RESERVADOS © PROHIBIDA SU REPRODUCCIÓN TOTAL O PARCIAL Todo el material contenido en esta tesis esta protegido por la Ley Federal del Derecho de Autor (LFDA) de los Estados Unidos Mexicanos (México). El uso de imágenes, fragmentos de videos, y demás material que sea objeto de protección de los derechos de autor, será exclusivamente para fines educativos e informativos y deberá citar la fuente donde la obtuvo mencionando el autor o autores. Cualquier uso distinto como el lucro, reproducción, edición o modificación, será perseguido y sancionado por el respectivo titular de los Derechos de Autor. Dedicatorias A mis Padres: me han dado todo y gracias a ustedes este capítulo llega a su fin; sin su apoyo no podría ser lo que soy ni contar con lo necesario para crear mi futuro. Con todo mi corazón les doy las gracias infinitamente. Con todo mi corazón, para Rufino y Teresa. A Cesar, por acompañarme en la vida, por aventurarse conmigo en este viaje de locos, por ayudarme a investigar e intercambiar opiniones, porque qué sería de este Sherlock sin un buen Watson. Te quiero hermano. A Camila por iluminar la vida de sus abuelos y ayudar a que la mía sea un poco más divertida que antes. A Eugenia por detener la caída y por el abrazo perpetuo. Con todo mi amor para ti CdeO. A mi Asesor, el profesor Rúben Santamaría, que me ayudo a recuperarme de algo que parecía perdido, que con su paciencia me auxilió a darle una nueva perspectiva a La Tesis y con sus conocimientos me encaminó por el sendero correcto. Gracias infinitas. A mis sinodales los profesores Leticia Martínez Eslava, Gabriel Alanís Merchand, Teresa de Jesús García y David Guzmán Jiménez, por su valiosa aportación a esta investigación. A la UNAM por todo lo que aprendimos. Y que aquellos a los que perdimos tan repentinamente nunca sean olvidados. Agradecimientos A Rogelio y Amín, por toda una vida compartida; a MyLilEvilSis por todo. A Sandra, Urbina, Yesica, Chepina, Brito, Peña, Gustavo, Zenteno, Batista, Domínguez, Elvira, Villanueva, Ayala, Olguín, Moni, Petocha, Rafa, Cervantes, Ceres, Isaak, Gaby, Pérez, Quintero, Morales, Calixto, Escamilla, Reyna, Ibeet, Haydee, Yamil y Kari. A Tato, Mara, Chela, Yonekawa, Cris, Oscar, Veros, Chacala, Chabela, Tory, Ángel, Isaac, Sandybell, Kokoro, Violet, Lau, Zom, Ivette, Karla, Julyette, Ezequiel, Papayón, Quitze, Nahomi, Loronette, Dafne, Dulce, Brenda, Daniel, Jorge y Charly. A Amayelynch, Melipauli, Estany, García, Mex, Lic. Ríos, Alma, Noandzo, La Morena, Paola, Marsss, Nubiecita, Ari, Gade, Negra, Cuñao, Flacura, Leidimosh, A-A-Aura, Dra. Hernández, Lupita, Lauris, Denisa, Mendiola, Sensei Falcón, Geisha, Rosalba, Ale, Mojarra, Moonky, Sandra Elisa, Karlita, Rosa, Vicky, Terrícola, Nalle, Torita y Vero. A toda mi familia, mis primos, tíos y tías, muchas gracias. A todas las familias de toda mi gente, muchas gracias por abrir las puertas de su casa, de todo corazón. ÍNDICE INTRODUCCIÓN ................................................................................. 1 CAPÍTULO 1.-CONCEPTOS BÁSICOS DEL CINE ...........................11 1.1.- ¿QUÉ ES EL CINE? .............................................................................................................................. 11 1.2- GÉNEROS CINEMATOGRÁFICOS ........................................................................................................... 13 I.- EL DOCUMENTAL ..................................................................................................................................... 15 II.- EL WESTERN ........................................................................................................................................... 17 III.- LA COMEDIA ........................................................................................................................................... 18 IV.- EL MUSICAL .......................................................................................................................................... 19 V.- EL ORDINARIO........................................................................................................................................ 19 VI.-EL FANTÁSTICO ..................................................................................................................................... 21 VII.- EL THRILLER ........................................................................................................................................ 22 VIII.- EL TERROR ......................................................................................................................................... 23 VIII A.- SUBGÉNEROS DEL CINE DE TERROR............................................................................................... 24 Monstruos............................................................................................................................................... 24 Ataques Animales ................................................................................................................................. 25 Extraterrestres ....................................................................................................................................... 26 Posesión ................................................................................................................................................. 26 Psychokillers .......................................................................................................................................... 26 Fantasmas.............................................................................................................................................. 27 Zombies .................................................................................................................................................. 28 IX.- EL HÍBRIDO CINEMATOGRÁFICO........................................................................................................... 28 1.3.- LENGUAJE CINEMATOGRÁFICO ........................................................................................................... 30 I.- ELEMENTOS TÉCNICOS. .......................................................................................................................... 31 II.- ELEMENTOS NARRATIVOS ...................................................................................................................... 35 III.- EL RECURSO NARRATIVO ..................................................................................................................... 37 1.4.- EL FALSO DOCUMENTAL, EL RECURSO DE GRABACIÓN ENCONTRADA Y LAS PELÍCULAS DE GRABACIÓN ENCONTRADA .......................................................................................................................... 41 I.- EL FALSO DOCUMENTAL ......................................................................................................................... 41 II.- EL RECURSO DE GRABACIÓN ENCONTRADA ......................................................................................... 44 III.- LA PELÍCULA DE GRABACIÓN ENCONTRADA ........................................................................................ 46 CAPÍTULO 2.- LA HISTORIA DE LAS PELÍCULAS DE GRABACIÓN ENCONTRADA ..................................................................................52 I.- EL FALSO DOCUMENTAL EN EL CINE....................................................................................................... 54 II.- EL INICIO DE LAS PELÍCULAS DE GRABACIÓN ENCONTRADA (1980-2006) .......................................... 60 III.- EL DESARROLLO DE LAS PELÍCULAS DE GRABACIÓN ENCONTRADA (2007-2010) ............................ 69 IV.- EL AUGE Y LA CAÍDA DE LAS PELÍCULAS DE GRABACIÓN ENCONTRADA (2010-2013)...................... 75 CAPÍTULO 3.- UNA MIRADA DENTRO DE LAS PELÍCULAS DE GRABACIÓN ENCONTRADA ...........................................................83 I.-EL PROYECTO DE LA BRUJA DE BLAIR..................................................................................................... 85 II.-ACTIVIDAD PARANORMAL ........................................................................................................................ 97 III.-MEGAN IS MISSING............................................................................................................................... 105 IV.-TERROR EN LA BAHÍA .......................................................................................................................... 112 V.- V/H/S ................................................................................................................................................... 120 CONCLUSIONES .............................................................................130 ANEXO I...........................................................................................139 BIBLIOGRAFÍA................................................................................179 VIDEOGRAFÍA.................................................................................183 FUENTES CIBERNÉTICAS
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