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Tesis Doctoral (28-02-90) TESIS DOCTORAL TRADUCIENDO LA MIRADA: SOBRE LA PRÁCTICA DEL MONTAJE CINEMATOGRÁFICO EN LOS REMAKES NORTEAMERICANOS DE LOS PELÍCULAS DE TERROR ió Rgtre. Fund. Generalitat de Catalunya núm. 472 núm. de Catalunya Fund. Generalitat Rgtre. ió JAPONÉS CONTEMPORÁNEAS Realizada por Sandra Sánchez Lopera En el centro C.I.F. G: 59069740 Universitat Ramon Llull Fundac Llull Ramon 59069740 G: C.I.F. Universitat Universitat Ramon Llull. Facultat de Comunicació i Relacions Internacionals Blanquerna Doctorat en Comunicació Dirigida por Fernando de Felipe Allué 1 SUMARIO INTRODUCCIÓN………………………………………………………………………………………………………… 7 PARTE I: EL CINE DE TERROR JAPONÉS 1. El problema de la clasificación de géneros …..……………….…………………………………… 12 1.1. 1.1. El género como fórmula de producción …..…….………….……………………..…… 12 1.2. 1.2. El género como etiqueta …..…………………………..………………………………………. 15 2. El terror como género cinematográfico ..……………………………………………………………..17 2.1. El reto de los límites y la mezcla de géneros …………...………………………………19 2.2. Diversidad de rasgos dentro del mismo género….……………………………………20 3. El cine de terror japonés como fenómeno internacional (y puntual) ……………………..24 3.1. El terror como género cinematográfico en Japón ……………………………………24 3.1.1. Yotsuya Kaidan, el nacimiento del género de fantasmas en Japón ..…………………………..………………………………………………… 27 3.1.2. Kasane, el fantasma romántico …….………………….……………………… 29 3.1.3. Bakeneko, el gato fantasma …………………..…….…………………….…… 30 3.1.4. Okiku, la chica del pozo, y otras aportaciones al género ….……… 32 3.2. El cine japonés traspasa fronteras ……………..………………………………………… 34 3.3. El terror japonés contemporáneo frente al cine de terror norteamericano .………………….………….…………………………………… 38 3.4. El J-Horror ………………………………………………..………………………………………..… 44 3.4.1. La herencia de Ringu invade el terror made in Hollywood ………..47 PARTE 2: EL REMAKE 1. Una definición práctica ………………………………………………………………………………………. 49 2 1.1. Una aproximación histórica al remake norteamericano ……………………….. 50 1.2. El remake norteamericano desde el punto de vista industrial …………….… 52 1.3. Una definición conceptual de remake ………………………….………….………..… 54 1.4. La estética del remake norteamericano ……………………………………………….. 58 2. Copiando el J-Horror en Hollywood ……………………………………………………….…………….. 60 2.1. Remakes americanos del cine de terror japonés ……………………………………. 61 2.2. Cincos casos de remake ……….………………………………………………………………… 62 2.2.1 Ringu y The Ring. La señal …………………………………………………………..… 62 2.2.1.1. Ringu. El origen de un fenómeno …………………………………………... 63 2.2.1.1.1. Una historia de fantasmas tradicional y moderna …………... 65 2.2.1.2. The Ring. La señal. EE UU aprovecha el negocio ………..…………… 66 2.2.1.2.1. Cambios en el remake …………………………………………………… 67 2.2.2. Kairo y Pulse …………………………………………………………………………….….. 68 2.2.2.1. Kairo. El miedo usa la tecnología …………………………….……………… 69 2.2.2.1.1. Fantasmas modernos ………………………..……………………………. 70 2.2.2.2. Pulse. Un proyecto fallido ……………….…………………………………….. 71 2.2.2.2.1. Cambios en el remake …………………………………………………….. 72 2.2.3. Ju-On y El grito ……………………………………………………………………………… 74 2.2.3.1. Ju-On. La casa encantada ……………………………………………………… 74 2.2.3.1.1. Fantasmas y leyendas ……………………………………………………. 75 2.2.3.2. El grito. Cruce entre Oriente y Occidente ……………………………… 76 2.2.3.2.1. Cambios en el remake ………………………………………………….. 77 2.2.4. Dark Water y La huella ………………………………………………………………… 78 2.2.4.1. Dark Water. La heroína maternal …………………………………………. 79 2.2.4.1.1. El peso del agua ……………………………………………………………. 80 2.2.4.2. La huella. Un remake con estilo propio ………………………………… 81 3 2.2.4.1.2. Cambios en el remake …………………………………………………… 82 2.2.5. Llamada perdida (Chakushin ari) y Llamada perdida ……………………. 83 2.2.5.1. Llamada perdida (Chakushin ari). Los fantasmas usan el móvil …..…………………….…..…………..……. 84 2.2.5.1.1. Una moda que se agota …………………………………………………. 86 2.2.5.2. Llamada perdida. La hora del adiós ……………………………………... 87 2.2.5.2.1. Cambios en el remake …………………………………………………. 88 PARTE 3: EL MONTAJE CINEMATOGRÁFICO 1. El montaje como elemento cinematográfico …………………………………………….………… 90 1.1. Los pioneros del montaje ………………………………………..………………………….. 91 1.2. El montaje desde el punto de vista narrativo ………………………………………. 94 1.2.1. Conceptos clave del montaje ….…………………………………………………… 96 1.2.2. Funciones del montaje …………………………………………………………………. 98 1.3. 1.3. Teorías y corrientes del montaje ……………………………………………………….. 99 1.3.1. La escuela rusa …………………………………………………………………………. 100 1.3.2. La escuela británica ……………………………………………………………………. 103 1.3.3. La escuela francesa ……………………………….…………………..………………. 105 1.4. 1.4. Tipos de montaje ………………….………………………………………………………… 111 2. El montaje del cine clásico norteamericano como lenguaje universal …………….… 115 2.1. El MRI ……………………………………………………………………….………………….. 115 2.2. El montaje clásico de Hollywood ………………………….………………………. 117 2.2.1. Casos específicos de ruptura del montaje ……………….……………. 119 4 3. El montaje como herramienta de construcción narrativa (montaje narrativo) …… 121 3.1. El ritmo …………………………………………..………………………………………………….. 122 3.2. Formas de transición…………………………………………………………………………… 122 4. El montaje en el cine de terror contemporáneo …………………………………………………. 124 4.1. La mirada japonesa frente al ojo norteamericano ………..…………………….. 124 5. El montaje como herramienta de análisis en este trabajo ……………………………….. 129 PARTE 4: EL ESPEJO AMERICANO: ORIGINAL Y REMAKE, DIFERENCIAS EN EL MONTAJE 1. Método de estudio ………………..…………………………………………………………………………. 131 2. Ringu vs. The Ring. La señal ………………………………………………………………………………. 133 2.1. Ringu/ The Ring. La señal …………………………………………………………………….. 133 2.1.1. La secuencia de la televisión …………………………………..…………….. 134 2.1.1.1. Decoupage de la secuencia original .....…………..………. 134 2.1.1.2. Decoupage de la secuencia del remake …………………... 140 2.2. Diferencias en el montaje ………………………………………………………………….. 146 3. Kairo vs. Pulse ……………………………………………………………………………….………………. 148 3.1. Kairo/ Pulse ………………………………………………………………………………………. 149 3.1.1. La secuencia de la visita al piso del suicida ……………….…………… 150 3.1.1.1. Decoupage de la secuencia original ..…..………………….. 151 3.1.1.2. Decoupage de la secuencia del remake ….…….…………. 153 3.2. Diferencias en el montaje …………………………………………………………………. 158 4. Ju-On vs. El grito ………………………………..………………………………………….…………….. 158 4.1. Ju On / El grito ………………………………………………………………..………………… 159 4.1.1. La secuencia de la víctima en el piso ……………………….………….. 159 5 4.1.1.1. Decoupage de la secuencia original ………………………… 160 4.1.1.2. Decoupage de la secuencia del remake ……………..……. 164 4.2. Diferencias en el montaje …………………………………………………………..……….. 168 5. Dark Water vs. La huella ………………………………………..…………………………………………. 169 5.1. Dark Water / La huella ………………………………………………………………………… 170 5.1.1. La secuencia del ascensor …………………………….……………………….. 171 5.1.1.1. Decoupage de la secuencia original ………………………… 171 5.1.1.2. Decoupage de la secuencia del remake ……….………… 173 5.2. Diferencias en el montaje ………………………………………………………………….. 179 6. Llamada perdida (Chakushin ari) vs. Llamada perdida ……………………………………. 179 6.1. Llamada perdida (Chakushin ari) / Llamada perdida ………………………… 180 6.1.1. La secuencia de las vías del tren ……………………………………………. 181 6.1.1.1. Decoupage de la secuencia original ………………………… 182 6.1.1.2. Decoupage de la secuencia del remake ………………….. 186 6.2. Diferencias en el montaje ………………………………………………………..………. 189 PARTE 5: CONCLUSIONES ………………………………….………………………………………………… 191 BIBLIOGRAFÍA ……………………………………………………………………………………………………… 200 6 INTRODUCCIÓN En 1998, Ringu , una sencilla película de fantasmas producida en Japón, revolucionaba el cine de terror y marcaba el inicio de un fenómeno efímero, del que apenas queda ya huella, conocido como J-Horror. Se trataba de una serie de films que mostraban un tipo de terror diferente al de la todopoderosa industria norteamericana que, durante años, ha marcado las reglas del género. Historias de fantasmas modernos, que usaban las nuevas tecnologías para llegar hasta sus víctimas, en las que la violencia no era explítica y la sangre apenas estaba presente. Un terror narrado con el ritmo pausado de un drama que se rompía con un final impactante y aterrador. Podemos entender el J-Horror como una corriente específica dentro del cine de terror, tal y como ocurrió con el sangriento giallo italiano, el terror expresionista alemán, caracterizado por sus juegos de luces y sombras, o el sobrio clasicismo gótico con el que la productora británica Hammer presentó a sus monstruos. Al igual que estos ejemplos citados, el J-Horror fue un fenómeno puntual, que se inició a finales de los años 90 y que culminó en la primera década del 2000. Durante este espacio de tiempo, se estrenaron diversas películas caracterizadas por una serie de rasgos comunes que las hacían reconocibles, con una identidad propia, frente al resto de producciones de terror. Rasgos como la presencia de las yurei, fantasmas, habitualmente femeninos, que se movían lentamente, con largas melenas oscuras y vestimentas blancas. El J-Horror llegó en un momento en el que el cine de terror había sufrido un gran desgaste. Tras unos años de cierto éxito con películas destinadas a un público adolescente, con historias que solían girar entorno a un asesino que iba masacrando a sus víctimas, y se inició gracias a la saga Scream (1996), de Wes Craven, a la que siguieron un buen número de producciones que, sin embargo, no dejaban de ser una lejana herencia de los slashers nacidos a finales de los años setenta con el famoso asesino del cuchillo Michael Myers persiguiendo a los protagonistas de La noche de Halloween
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