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Nosferatu. Revista De Cine (Donostia Kultura)

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Nosferatu. Revista De Cine (Donostia Kultura) Nosferatu. Revista de cine (Donostia Kultura) Título: 100 VISIONES DEL FUTURO. BREVE DICCIONARIO DE LA CIENCIA-FICCIÓN EUROPEA Autor/es: Jordi Costa Citar como: Jordi Costa (2001). 100 VISIONES DEL FUTURO. BREVE DICCIONARIO DE LA CIENCIA-FICCIÓN EUROPEA. Nosferatu. Revista de cine. (34). Documento descargado de: http://hdl.handle.net/10251/41221 Copyright: Reserva de todos los derechos (NO CC) La digitalización de este artículo se enmarca dentro del proyecto "Estudio y análisis para el desarrollo de una red de conocimiento sobre estudios fílmicos a través de plataformas web 2.0", financiado por el Plan Nacional de I+D+i del Ministerio de Economía y Competitividad del Gobierno de España (código HAR2010-18648), con el apoyo de Biblioteca y Documentación Científica y del Área de Sistemas de Información y Comunicaciones (ASIC) del Vicerrectorado de las Tecnologías de la Información y de las Comunicaciones de la Universitat Politècnica de València. Entidades colaboradoras: l g o (1 p; Si' in es ci es m: de te e -la ca~ ble cio Del lgle imp hun cias regi nos terrc cybE del I po SI para lgles altu 1·; autér La pr: tasía 1 turisn~ mvent intiel de ur; ves ti g< por A l el escr del gér to entr releeru del pri i Aelita (Julia Solntseva). Protazanov, autor su mamente Abre los ojos influenciado por Griffith, logró, a su vez, inspirar el re­ (1997). Espafia. Dir.: Alejandro Amenábar gistro estético de muchos seriales fantásticos del poste­ rior cine americano, con Flash Gordon (1936), de Frede­ Uno de los mayores éxitos del joven ci ne español. Se­ rick Stephani, a la cabeza. gundo largometraje de Alejandro Amenábar, cineasta de origen chileno que había debutado con el thri!ler Tesis (1995) -cuya trama, sembrada de convenciones y trans­ parentes trampas, se articulaba alrededor del tema de las Agente 007 contra el Doctor N o snuff movies-, Abre los ojos habla del laberíntico viaje (Doctor No, 1962). Gran Bretaña. Dir.: Terence Young interior de un yuppie desfigurado tras un accidente y escindido entre dos vidas divergentes. La criogeniza­ Título fundacional de la longeva serie de pe! ícu las pro­ ción y los implantes de memoria virtual aportarán el in­ tagonizadas por James Bond, el agente secreto 007 al esperado envoltorio [anta-científico al conjunto. Subli­ Servicio de Su Majestad Británica creado por el novelis­ mación del estilo Amenábar -que es, más bien, la asfixia ta lan Fleming en 1953. Adaptación de la sexta novela de todo estilo-, el film cuenta con una elaborada arqui­ del personaje, la película enfrenta a Bond (Sean Con­ tectura narrativa, dosifica sus golpes de efecto visuales nery) con un hiperbólico villano oriental, el Dr. No -la Gran Vía madrileña vacía, el salto desde la Torre Pi­ (Joseph Wiseman), dispuesto a chantajear al gobierno casso ... - y se erige en paradigmático testimonio -proba­ de los Estados Unidos tras haber creado un ingenio blemente inconsciente- de la desideologización genera­ atómico capaz de desviar misiles. Evolución pop de cional de la joven España del bienestar. los esquemas ac uñados por la literaturapu/p y los seria­ les cinematográficos, la serie Bond -que, en su futuro desarrollo, subrayaría tanto sus elementos fantásticos como los paródicos- supuso el origen de un moderno Acción mutante modelo de cine-espectáculo que canibalizaría diversos (1992). España-Francia. Dir.: Alex de la fglesia géneros cinematográficos y fundaría un nuevo modelo mitómano. Debut en el largometraje del cineasta vasco Alex de la Iglesia, que ya se había dado a conocer con el corto de impacto Mi rindas asesinas ( 1990). Comedia espacial de humor negro recorrida por un rico repertorio de referen­ Alien, el octavo pasajero cias pop y guiños cinéfilos, el film documenta, desde un (Alíen, 1979). Gran Bretaña. Dir.: Rid ley Scott registro que recuerda tanto a los universos berlanguia­ nos como a la mitología viril de Frank Miller, la odisea No sería ni su esquema argumental tributario de un vie­ terrorista de un grupo de mutantes -tullidos, Ji'eaks y jo título americano de serie B -lt! The Terror from cyber-minusválidos- enfrentados a la sociedad futurista Beyond Space (1958), de Edward L. Cahn-, ni su hibrida­ del Bilbao del afio 2012, que ha hecho del culto al cuer­ ción de los recursos visuales de l terror y la po su única religión. Lejos de utilizar el registro cómico ciencia-ficción -que ya explotara Mario Bava en su Te­ para afrontar el género desde la distancia, Alex de la rror en el espacio (Ten-ore ne!lo spa::.io, 1965)- lo que Iglesia logra que la factura técnica del film bri ll e a gran convertiría a este segundo largometraje del cineasta altura y que sus escenas de acción se conviertan en formado en la pub lic idad Ridley Scott en uno de los auténticas descargas de vigor visual. clásicos perdurables de la ciencia-ficción de los 70, sino su radical opción de convertir los diseños biomecánicos del suizo H.R. Giger en su discurso: en el fi lm, la amena­ za deja der ser tecno lógica para convertirse en biológi• A e lita ca, al tiempo que se dota al género de una mal sa na ico­ (Aelita, 1924). URSS . Dir.: Jacob Protazanov nografía sexual. Re pu tados ilustradores y dibujantes de cómics, como Moebius, Chris Foss o Ron Cobb también La primera space opera del cine soviético fue esta fan­ participaron en el riquísimo diseño de producción del tasía ligera, marcada por las influencias estéticas del fu­ film. turismo, el cubismo y el constructivismo, en la que un inventor emprende, tras haber asesinado a su esposa infiel, un viaje a Marte, finalmente onírico, en compaiiía de un soldado del ejército rojo y del detective que in ­ Amos del tiempo, Los vestiga el crimen. Basada en la novela homónima escrita (Les maítres du temps, 1982). Francia. Di r. : René Laloux por Alexei Tolstoi en 1922, la película -considerada por el escritor Frederick Pohl como una de las mejores obras La revista francesa de comics Métal Hurlant no sólo del género de l cine silente- cosechó un considerable éxi­ marcó la irrupción de una nueva generac ión de historie­ to entre el público soviético de la época merced a su listas en el mercado, sino que se erigió en decisiva in­ relectura cómica de la realidad cotidiana y a su creación fluenc ia iconográfica para buena parte del posterior cine del primer mito erótico futurista, la princesa marciana europeo de ciencia-ficción: de Ridl ey Scott a Luc Bes- NOSFERATU 34-35 211 . son, pasando por Terry Gilliam. En esta adaptación ani­ distribuido entre la población una peligrosa droga, ca­ mada de la novela de Stefan Wul L 'orpheline de Perdi­ paz de aumentar la productividad laboral, pero inducto­ da -en cuyo guión participó el maestro del polar ra de suicidios. Con una intriga transparentemente tri­ Jean-Patrick Manchette-, el cineasta René Laloux contó butaria de Solo ante el peligro (High Noon, 1952), de con la inspiración gráfica de uno de los líderes de la Fred Zi nnemann, una visión del futuro sucia y de voca­ A generación hurlant, Jean Giraud "Moebius", que vistió ción realista y abundantes elementos de technothriller. ró con un deslumbrante ropaje visual una aventura lastra­ el film de Peter Hyams logró trascender el esquematismo sa da por su tono deliberadamente infantil y su misticismo de su premisa dotando de un abrumador protagonismo /11 . un tanto desnortado. a su claustrofóbico y laberíntico decorado, entendido, H en un principio, como traslación futurista de algunos qL espacios característicos del western. El film contó con fa una soberbia adaptación al cómic a cargo de Jim Ste­ m Arrebato ranko. dr ( 1979). España. Dir.: I ván Zul ueta !TI • gé El cine es un arte vampírico. A partir de esta premisa, Barbarella su que más tarde podría haber reformulado, en clave cató• m: dica, el David Cronenberg de Videodrome (Videodrome, (Barbarella, 1968). Francia-Italia. Dir.: Roger Yadim 1982), el cineasta maldito Iván Zulueta levantó la que, sin duda, puede considerarse como la gran película de Creada por Jean-Ciaude Forest en 1962 en las páginas culto del cinc español. Diez años después de rodar el de la revista V Maga::ine, Barbarella se colocaría en la musical pop Un, dos, tres, al escondite inglés (1969) y vanguardi a del desembarco de erotizadas y fantásti cas tras haber desarrollado una tan subterránea como va­ heroínas que tomaría por asalto la historieta europea de liente labor en el terreno del cine experimental en Súper-8, los 60 -y en el que jugó un nada desdeñable papel el Er Zulueta se abismó en las turbias aguas de la más radical cineasta Jean Rol! in como guionista de la también popu­ es pasión por el cine, elaborando una pesadilla metalin­ lar Saga de Xam, dibujada por Nicolas Devil-. Erotóma­ do güística que hablaba, entre otras muchas cosas, de la no un tanto relamido y de orientación decididamente thé imagen como adicción, del vértigo de la belleza y de la kitsch, Roger Yadim concibió el film como pigmalioniana es< monstruosidad de los espejos. Pocas películas han sa­ plataforma de lanzamiento de un nuevo sex-symbo/ in­ inJ bido convertir su propio soporte, su propia piel de celu­ ternacional, su esposa Jane Fonda. Curiosamente, Fo­ de loide, en algo tan perturbador. rest se había inspirado, a su vez, en la ex del cineasta. ge Brigitte Bardot, para diseñar origin almente al personaje. de Space opera voyeurística y procaz, en la que la heroín a lla Ascensor, El descubre el amor carnal en el proceso de salvar al uni­ pu ve rs o del destructor rayo positrónico del villano Du­ ge (De Lift, 1983).
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