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Las Alas De Ícaro: El Trailer Cinematogáfico, Un Tejido Artístico De Sueños

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Las Alas De Ícaro: El Trailer Cinematogáfico, Un Tejido Artístico De Sueños Las Alas de Ícaro: El un tejido artístico de sueños. Las Alas de Ícaro: El trailer cinematogáfico, un tejido artístico de sueños. Tesis doctoral presentada por María Lois Campos, bajo la dirección del doctor D. José Chavete Rodríguez. Facultad de Bellas Artes, Departamento de Pintura de la Universidad de Vigo. Pontevedra 2014 / 2015 AGRADECIMIENTOS Quiero expresar mis más sincero agradecimiento a todas aquellas personas que me han apoyado y motivado a lo largo de mis estudios. Voy a expresar de un modo especial mis agradecimientos: • En particular agradezco al Profesor José Chavete Rodríguez la confianza que ha depositado en mí para la realización de esta investigación; por su apoyo, trato esquisito, motivación constante y sabios consejos a lo largo de dicho proceso. • En especial agradezco a Joaquina Ramilo Rouco (Documentalista- Information Manager) su paciencia a la hora de intentar resolver mis dudas. • También expreso mi reconocimiento al servicio de Préstamo Interbibliotecario (Tita y Asunción) y al servicio de Referencia de la Universidad de Vigo, así como a Héctor, Morquecho, Fernando, Begoña (Biblioteca de Ciencias Sociales de Pontevedra) y al personal de la Biblioteca de Torrecedeira en Vigo. • Quisiera hacer extensiva mi gratitud al profesor Suso Novás Andrade y a Ana Celia (Biblioteca de Bellas Artes) por el tiempo invertido a la hora de solventar mis dudas a lo largo del proceso de investigación. • Debo asimismo, mostrar un agradecimiento ante el hecho de haber sido alumna de Juan Luís Moraza Pérez, Consuelo Matesanz Pérez, Manuel Sendón Trillo, Fernando Estarque Casás, Alberto Ruíz de Samaniego y Rosa Elvira Caamaño Fernández, entre otros profesores, por haber aportado sus conocimientos, así como mostrarme otros universos en torno al arte. • Agradezco a toda la gente que aportó su conocimiento a la hora de realizar las traducciones de los textos. • Resulta necesario destacar el papel de mi familia a la hora de lidiar con este proyecto de investigación por su paciencia. • Por último, cómo no, expreso mi agradecimiento a todas aquellas personas que saben quienes son y que siempre han estado allí cuando se han necesitado. Índice INTRODUCCIÓN…………………………………………………………………..…1 PRIMERA PARTE: Justificación e interés de la investigación………………..…2 1. EXPOSICIÓN DEL ESTUDIO………………………..………………………..…4 1.1. Estado de la cuestión………………………………………….…...…...4 1.2. Objetivos………………………………………………..…………............4 1.3. Hipótesis……………………………………………………………..…...4 1.4. Metodología……...………………………………………………………...5 1.5. El Título…………………………………………………………………….6 1.5.1. El Ala y el Vuelo…………………………………………..……6 1.5.2. El Trailer Cinematográfico…………………………..…...…..10 1.6. Recapitulación (capítulo 1)………………………………….……...…13 SEGUNDA PARTE: Desarrollo del Marco Teórico……………………………...14 2. HISTORIA DEL TRAILER…………………………………………………….....16 2.1. Introducción……………………………………………………………..16 2.2. Historia del trailer……………………………………………………....17 2.3. Recapitulación (capítulo 2)…………………………………………....33 3. DEFINICIÓN DEL TRAILER ………………………………...………………….38 3.1. Definición……………………………………………………………......40 3.1.1. Paratexto…………………………………………………….....47 3.1.2. Función………………………………………………….……..50 3.1.3. Producto Cultural……………………………………………..54 3.1.4. Clasificación por edades………………………………….....60 3.1.4.1. Trailer Tag y Rating Block…………………………62 3.1.4.1.1. Apéndices. Ejemplos de Trailer Tags…..67 3.1.5. La Espera………………………………………………….…..72 3.2. Tipología…………………………………………………………………76 3.2.1. Teaser Trailer…………………………………………..……..76 3.2.2. Theatrical Trailer……………………………………………..78 3.2.3. TV Trailer o TV Spot…………………………….…….…….78 3.2.4. Making-of o Behind the Scenes………………….…….......79 3.2.5. Clip Trailer……………………...…………………….………..80 3.2.6. Videogame Trailer………………………………….………….80 3.2.7. Creative Trailer…………………………………….………….81 3.2.7.1. Trailer de Autor. Hosted Trailers………………....81 3.2.7.1.1. Orson Welles……………………………..82 3.2.7.1.1.1. Citizen Kane…………………….82 3.2.7.1.1.1.1. Transcripción de la traducción de Citizen Kane………….92 3.2.7.2.1. Cecil B. DeMille y Alfred Hitchcock…….95 3.2.7.2.1.1. Cecil B. DeMille……………….100 3.2.7.2.1.1.1. The Ten Commandments……………..100 3.2.7.2.1.1.1.1. Transcripción de la traducción de The Ten Commandments……………..103 3.2.7.2.1.1. Alfred Hitchcock…………….…107 3.2.7.2.1.1.1. Icono. Hitchcock……..107 3.2.7.2.1.1.2. El Narrador en Hitchcock……………………………..133 3.2.7.2.1.1. 3. El Filme Ausente en el Trailer…………………………………144 3.2.7.2.1.1.4. Interconexión Trailer- Película……………………………….164 3.2.8. Appropriated Trailers…………………………………...…..170 3.2.8.1. Trailer-Videoclip…………………………………….173 3.2.8.2. Trailer-Spot…………………………………………..187 3.2.9. Trailer Remix (crowdsourcing-interconectividad, intercreatividad)……..196 3.2.9.1. Re-cut Trailer……………….….……………………202 3.2.9.2. Mash-up Trailer………………………………...….203 3.2.10. Fake Trailer……………………………...………………….205 3.2.11. Interactive Trailer……………………………..……...…...210 3.2.11.1. Wiki Trailer (Trailer Colaborativo)………….....212 3.2.11.2.Trailer Maker………………………………….…212 3.2.12. Trailer Multiplataforma ……………………………..……212 3.2.12.1. A. R. G. Trailer (Alternative Reality Game Trailer)………………..……...214 3.3. Recapitulación (capítulo 3)……………………………………….....214 4. Marketing………………………………………………………………….…….219 4.1. Punto de vista mercantil………………………………………….….220 4.2. Estrategia…………………………………………………………...…224 4.2.1. Interpelación……………………………………………......229 4.2.1.1. Testimonio Anónimo…………………………..…230 4.2.1.2. Testimonio No Anónimo………………………....234 4.3. Explotación de la obra audiovisual……………………………..…...241 4.3.1. Televisión………………………………………………….....241 4.3.2. “Televisión” móvil……………………………………….......242 4.3.3. Internet………………………………………………………..245 4.3.3.1. Website Interactiva………………………………...245 4.3.3.1.1. Gravity …………………………………..246 4.4. Editor de trailers……………………………………………………....248 4.4.1. Recursos característicos………………………………..….253 4.5. Recapitulación (capítulo 4)…………………………………….….…255 5. El trailer como modelador de la realidad exterior: Imaginario colectivo respecto al espacio……………………………………………………………...…257 5.1. Presencia-Ausencia……………………………………………...…...257 5.2. El trailer. Memoria anticipada del mañana…………………………259 5.3. El trailer. Configurador del imaginario audiovisual…………………281 5.4. El trailer. Avance del futuro……………………………………………289 5.4.1. Ciencia y Ficción………………………………………….….290 5.4.1.1. El Espacio. El Viaje Espacial………………….....292 5.4.1.1.1. Antecedentes……………………………...294 5.4.1.1.2. El Viaje…………………………………….296 5.4.1.1.3. Ejemplos de los Imaginarios Espaciales…………………………….298 5.4.1.1.3.1. 2001: A Space Odyssey.........298 5.4.1.1.3.2. Solyaris……………………..…310 5.4.1.1.3.3. Silent Running………………..315 5.4.1.1.3.4. Alien…………………………...318 5.4.1.1.3.5. Outland………………………..326 5.4.1.1.3.5.1.Transcripción de la traducción de Outland……………..330 5.4.1.1.3.6. Blade Runner ………………....332 5.4.1.1.3.7. Moon…………………………..345 5.4.1.1.3.7.1. Transcripción de la traducción de Moon………….……..348 5.5. Recapitulación (capítulo 5)………………………………………..…351 TERCERA PARTE: Conclusión……………………………………………….....355 6. CONCLUSION.…………………………………………………….……….…...357 6.1. Verificación de la hipótesis…………………………………...…..…...357 6.2. Consideraciones finales…………………………………….…………363 6.3. Línea futura de investigación………………………………….….....368 CUARTA PARTE: Bibliografía……………………………………………....…...371 7. BIBLIOGRAFÍA……………………………………………………..………..…373 QUINTA PARTE: Anexos…………………………………………………….…..417 8. ANEXOS…………………………………………………………………….…..419 8.1. Anexo 1: Cronología………………………………………….……..419 8.2. Anexo 2: Glosario y Abreviaturas…………………………………..420 INTRODUCCIÓN Los trailers son considerados un método de publicidad cinematográfica. Éstos son mostrados antes de la llegada de las películas en el cine. De hecho su función primaria es la de promocionar las películas. No obstante a pesar de su destacado papel promocional, el trailer surge de un proceso creativo. De esta manera existen trailers que destacan sobre otros y perviven al paso del tiempo conservando su propia identidad e incluso convirtiéndose en una entidad autónoma. Así, la estructura del trabajo de investigación presenta una primera parte en la que se revela la justificación y el interés de la indagación sobre el trailer, se exponen los objetivos, se describe la metodología del estudio, las estrategias de recogida de información, etc. A continuación, en la segunda parte se desarrolla el marco teórico del tema, contiene los capítulos que resumen la amplia documentación mediante la cual se ha definido el posicionamiento teórico. En esta parte se ha realizado un recorrido a lo largo de la historia del trailer, se ha definido qué es un trailer, se ha elaborado una tipología de trailers, se ha señalado el componente económico del trailer y se ha aludido al trailer como configurador del imaginario colectivo. Esta forma breve audiovisual contribuye a crear un imaginario colectivo fílmico, pues el público visualiza estas previews o avances antes que los filmes. Particularmente, el poder de las imágenes se observa en los trailers de ciencia ficción relacionados con el viaje espacial, ya que no todo el mundo puede verificar lo que ve en la pantalla con lo que ocurre en esa otra realidad. Por otro lado, en lo que respecta a la tercera parte de la investigación se destilan las conclusiones finales y la ilustración de vías a seguir en posteriores estudios. Además, en la cuarta parte se recopilan las fuentes documentales utilizadas en el estudio. Más aún, finalmente en la quinta parte se presentan los anexos relativos a la cronología y al glosario así como, las abreviaturas utilizadas en el estudio. 1 PRIMERA PARTE: Justificación e interés de la investigación
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