Análisis De La Figura Femenina En El Viaje De Chihiro De Hayao Miyazaki

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Análisis De La Figura Femenina En El Viaje De Chihiro De Hayao Miyazaki UNIVERSIDAD CATÓLICA ANDRÉS BELLO FACULTAD DE HUMANIDADES Y EDUCACIÓN ESCUELA DE COMUNICACIÓN SOCIAL MENCIÓN ARTES AUDIOVISUALES TRABAJO DE GRADO ANÁLISIS DE LA FIGURA FEMENINA EN EL VIAJE DE CHIHIRO DE HAYAO MIYAZAKI Tesista SUÁREZ ALCALÁ, Valentina Tutor COVA HANNOT, Sebastián Caracas, Abril 2015 Para la maravillosa mujer que me dio el regalo de traerme a este mundo para viajar junto a ella por aventuras inimaginables. AGRADECIMIENTOS Siempre y, en primer lugar, gracias a mi familia por acompañarme en el viaje heroico y titánico que significó la realización de este proyecto. Especialmente, le agradezco a mi hermana, Isabella “mi puy”, por ser mi otra mitad y entenderme cuando nadie más lo hace, a mi abuela Enoe, por quererme tanto y siempre estar pendiente de mí y, a mi tía/madrina, Mildred, por ilustrarme siempre con sabios consejos y locuras. Son ustedes son mi motivación de todos los días. A Luis Montero por haberme introducido en el mundo mágico de Miyazaki; no lo hubiese podido haber hecho otra persona. Gracias por enseñarme que las cosas únicas son las que realmente valen la pena. A Fulvia “Mighty-T” Buonanno, mi mentora, amiga y tutora “miyazakeana”, sin quien esta tesis no se hubiese podido realizar. Gracias por haber puesto ciegamente tu confianza en mí y haberme ayudado en este proyecto que, más que una tesis, es algo que amamos. Finalmente, gracias a todos mis amigos y compañeros que me apoyaron en la realización de este proyecto. Espero les guste tanto como a mí. INDICE GENERAL I. INTRODUCCIÓN .............................................................................................................. 7 II. MARCO TEÓRICO ...................................................................................................... 10 2.1. Capítulo I: La mujer .............................................................................................. 10 2.1.1. ¿Qué es una figura femenina? ........................................................................ 10 2.1.2. La mujer en la historia ................................................................................... 10 2.1.3. La mujer en las películas animadas ............................................................... 16 2.1.4. La mujer en el manga y las películas animé .................................................. 17 2.2. Capítulo II: El Viaje de Chihiro ............................................................................ 23 2.2.1. ¿Qué es? ......................................................................................................... 23 2.2.1.1. Sinopsis ....................................................................................................... 23 2.2.2. Producción del largometraje .......................................................................... 23 2.2.3. El nombre de la película ................................................................................. 24 2.2.4. El motivo de realización ................................................................................. 26 2.2.5. A quien va dirigida ......................................................................................... 27 2.2.6. Lo fantástico ................................................................................................... 29 2.2.7. La música ........................................................................................................ 34 2.2.8. Los personajes ................................................................................................ 41 2.2.9. Galardones y reconocimientos ....................................................................... 56 2.2.10. Hayao Miyazaki .............................................................................................. 57 2.2.11. Films antecedentes ......................................................................................... 62 2.2.11.1. Nausicaä del Valle del Viento ..................................................................... 62 2.2.11.2. Laputa: Castillo en el Cielo ........................................................................ 65 2.2.11.3. Mi vecino Totoro ......................................................................................... 67 2.2.11.4. Kiki: Servicio a domicilio ........................................................................... 68 2.2.11.5. Porco Rosso ................................................................................................ 70 2.2.11.6. Princesa Mononoke .................................................................................... 73 2.3. Capítulo III: El sintoísmo ...................................................................................... 76 2.3.1. ¿Qué es? ......................................................................................................... 76 2.3.2. Elementos del shinto influyentes en los personajes femeninos de El Viaje de Chihiro 78 2.4. Capítulo IV: Modalidad y teoría de la investigación ............................................ 81 2.4.1. Tipo de Investigación ..................................................................................... 81 2.4.2. Teoría de El viaje del escritor de Christopher Vogler ................................... 83 III. MARCO METODOLÓGICO ................................................................................... 98 3.1. Planteamiento del problema .................................................................................. 98 3.2. Objetivos .............................................................................................................. 101 3.2.1. Objetivo general ........................................................................................... 101 3.2.2. Objetivos específicos .................................................................................... 101 3.3. Justificación ......................................................................................................... 102 3.4. Delimitación ......................................................................................................... 103 3.5. Matriz de análisis ................................................................................................. 104 3.5.1. Definición de los elementos del análisis....................................................... 105 3.6. Criterios para la selección de la muestra ............................................................ 109 3.7. Muestra de análisis .............................................................................................. 110 3.8. Aplicación de la matriz ........................................................................................ 111 3.9. Resultados ............................................................................................................ 117 IV. CONCLUSIONES Y RECOMENDACIONES ...................................................... 127 FOTOGALERÍA ................................................................................................................ 130 V. REFERENCIAS BIBLIOGRÁFICAS ........................................................................ 146 INDICE DE FIGURAS CONCEPTUALES Figura 1: Análisis de datos cualitativos 82 Figura 2: Matriz línea de tiempo del viaje del héroe 104 Figura 3: Matriz de arquetipos 10 I. INTRODUCCIÓN Desde sus inicios, el cine se ha convertido en un arte que se ha ido acoplando a los cambios tecnológicos de cada época. Los avances que se han dado, en cuanto a tecnología audiovisual se trata, son fundamentales para entender los cambios y modificaciones que, a su vez, han transformado los procesos creativos en los distintos autores y en su forma de recrear las historias. Es importante reconocer que una de las tantas ramificaciones que ha tenido el cine y, que, además, ha logrado tener un rol fundamental tanto en la vida de las personas como en los realizadores y creadores de historias, ha sido la animación. Si bien para algunos, el término familiar con el que se identifica el cine de animación es “dibujos animados” , “comic” y/o “comiquitas”; se debe tomar en cuenta que esta tipología guarda relación con las formas clásicas del cine, ya que igualmente, se aplican los principios estéticos y/o teorías argumentativas para crear una determinada historia. Como toda teoría sujeta a ser transformada a través de la creación, cada realizador toma algún aspecto particular para crear una historia y consolida como un estilo propio, una característica que existe únicamente dentro de su relato. El realizador es parte importante del cine de animación, pero también lo es el público a quien este tipo de cine va dirigido. Esta forma de hacer cine ha maravillado a las masas dada la gran variedad de historias y personajes que se pueden crear a través de ella. La gama de creación es sumamente amplia: cuentos de hadas, mundos mágicos, juguetes que hablan, animales que hablan y cantan, objetos que se transforman y un sinfín más de ejemplos sirven a la animación como creaciones novedosas. La animación, entonces, se transforma en una herramienta por medio de la que cualquier imagen que sea pensada e idealizada por un realizador puede ser representada en su totalidad sin limitarse a la realidad y sus complejas leyes y normativas. Una de las formas de la animación que ha maravillado siempre hasta los confines del mundo occidental, ha sido el “animé” o animación japonesa. A pesar de las diferencias entre las culturas orientales y occidentales, este tipo de animación ha podido calar en muchísimas generaciones; desde la recordada y trágica “Candy
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