Autor: Santiago Jiménez Espitia Director: Óscar Hernando Guarín

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Autor: Santiago Jiménez Espitia Director: Óscar Hernando Guarín Wordless Novels: La enunciación del silencio y la crisis de la modernidad Autor: Santiago Jiménez Espitia Director: Óscar Hernando Guarín Martínez Tesis de grado presentada como requisito para optar por el título de Historiador Pontificia Universidad Javeriana Facultad de Ciencias Sociales Carrera de Historia Colombia, Bogotá, Julio de 2018 Contenido Agradecimientos ..................................................................................................................................... i Introducción .......................................................................................................................................... 1 CAPITULO 1: COMIC E IMAGEN; TIEMPOS FRAGMENTADOS Y TIEMPOS ATRAPADOS .......................... 7 ¿DEL CÓMIC A LA NOVELA GRÁFICA? ................................................................................................................ 7 EL TIEMPO DEL SILENCIO EN EL CÓMIC............................................................................................................ 10 IMAGEN VS. HISTORICIDAD .............................................................................................................................. 19 CÓMIC E HISTORIA ........................................................................................................................................... 24 CAPITULO 2: WORDLESS NOVELS, LA ENUNCIACIÓN DEL SILENCIO ..................................................... 27 WORDLESS NOVELS .......................................................................................................................................... 27 NARRAR SIN PALABRAS .................................................................................................................................... 30 SOBRE LAS FUENTES: LAS WORDLESS NOVELS Y SUS AUTORES ...................................................................... 33 ISTVAN SZEGEDI SZUTS ................................................................................................................................ 33 FRANS MASEREEL......................................................................................................................................... 34 LYND WARD ................................................................................................................................................. 37 CLEMENT MOREAU ...................................................................................................................................... 39 PROBLEMAS ..................................................................................................................................................... 40 CAPITULO 3: DESMONTAJE Y MONTAJE, UNA APROXIMACIÓN AL PRESENTE ...................................... 55 MONTAJE PARA DEVELAR LA VERDAD ............................................................................................................. 55 LA ESTRATEGIA DEL FOUND FOOTAGE ............................................................................................................ 59 MONTAJES ........................................................................................................................................................ 63 Montaje 1 ..................................................................................................................................................... 64 Montaje 2 ..................................................................................................................................................... 66 Montaje 3 ..................................................................................................................................................... 69 Montaje 4 ..................................................................................................................................................... 74 Montaje 5 ..................................................................................................................................................... 76 Montaje 6 ..................................................................................................................................................... 79 Montaje 7 ..................................................................................................................................................... 82 Montaje 8 ..................................................................................................................................................... 83 RESPECTO A NUESTRO PRESENTE .................................................................................................................... 84 Bibliografía .......................................................................................................................................... 88 Agradecimientos Este es mi trabajo de grado que consolida mi proceso de formación como historiador, por ende, en cada una de las páginas están presentes las personas que de distintas formas acompañaron mi formación y la redacción de esta investigación. En primer lugar, agradezco a mi Mamá y Papá, Martha y Hermann, por su respaldo incondicional en decisiones y momentos críticos a lo largo de mi vida. A Ana María y Juan Camilo, por soportarme y brindarme su cariño y apoyo. A toda mi familia infinitas gracias. Igualmente, quiero expresar la enorme deuda que tengo con el cuerpo de profesores del departamento de Historia de la Pontifica Universidad Javeriana que, a lo largo de estos años, me formó como un profesional en la disciplina. Inicialmente, quiero agradecerle al director de este trabajo, el profesor Óscar Guarín quien fue de gran ayuda para la formulación del problema de este trabajo, así como para el encuentro con las fuentes a trabajar. Por cada corrección, cada sugerencia y cada ánimo que me dio, gracias. Asimismo, quiero agradecerles a las profesoras Amada Carolina Pérez y Paula Matiz que inculcaron en mi formación una serie de inquietudes y aproximaciones teóricas que espero se vean reflejadas en este trabajo. A la profesora Silvia Cogollos, por su respaldo en distintos momentos de la carrera. Finalmente, al profesor Rafael Diaz, que acompañó toda la etapa de formulación de este proyecto. No puedo olvidar a mis amigos y compañeros que estuvieron junto a mí a lo largo de esta carrera A mi «parche» de la universidad: a Lorena, Emilio, Miguel, Santiago, Carlos, asi como todas las otras personas, de diferentes disciplinas, con las que pude compartir, gracias por brindarme una importante amistad en esta etapa de mi vida, por cada conversación, cada alegría y cada momento dentro y fuera de las aulas. Culmina una etapa de mi vida que jamás olvidare y siempre tendré en un rincón especial de mi corazón. i Introducción Este trabajo de investigación nace del interés que me ha acompañado toda la vida por el mundo de los cómics, desde las tiras cómicas y novelas gráficas hasta las adaptaciones a medios audiovisuales de estas historias, cuya popularidad ha ido incrementando con los años. Es absolutamente impresionante lo versátil que el medio se ha vuelto desde su nacimiento a finales del siglo XIX y su evolución a través del siglo XX, generando una completa revolución con la forma que tiene de comunicar ideas a través del híbrido de imagen y texto. No obstante, a pesar de que ha sabido hacerse un espacio en el imaginario colectivo como medio de comunicación, este, hasta hace muy poco el cómic empezó a gozar de un estudio serio por parte de la academia. A diferencia del cine y la fotografía, el cómic fue visto, desde su nacimiento simplemente como un producto burdo de la cultura popular, cuyas funciones respondían exclusivamente al entretenimiento y al ocio. En buena medida, esto se debió a que aquellas primeras expresiones del medio que aparecieron como tiras horizontales en las páginas de la prensa presentaban personajes caricaturescos inmersos en situaciones con las que el público se podía relacionar, por lo que tenían en su mayoría, un toque bastante humorístico. El estereotipo se vio reforzado unas décadas más tarde, cuando en 1938 aparece el personaje de Superman y con él todo este subgénero de los superhéroes, plagado de personajes e historias fantásticas, cuyas aventuras estaban orientadas hacia un público más infantil. En la decada de los 80, con el aumento de la popularidad del anime y manga, de origen japonés, en Occidente, y el reconocimiento de varios autores, entre los que se encuentran Frank Miller (The Dark Knight Returns), Alan Moore (Watchmen, V for Vendetta) y Art Spiegelman (Maus, primera en su género en ganar el aclamado premio Pulitzer), la academia empezó cambiar radicalmente su actitud frente a estas publicaciones. Es en este punto en el que el cómic empieza a adquirir legitimidad como medio, ya los intentos por reivindicar al cómic ante el público académico dejarán de ser pequeñas exposiciones y charlas aisladas, y surgiría un incipiente interés por el medio desde diversos campos del saber. 1 De igual manera la lógica trans media que ha permeado el mundo del cómic desde esta época, ha hecho al medio más visible no solo desde las historietas sino desde sus constantes adaptaciones al cine, a la televisión y a los videojuegos. Si bien los superhéroes son el género dominante en estas reinterpretaciones y/o adaptaciones del cómic fuera del papel, esto no quiere decir que otros géneros no sean adaptados a otros medios. El mundo de los comics se ve cada vez más desligado de las viñetas en papel, con sus fanáticos encontrando nuevos medios
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