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Límites E Identidades

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Límites E Identidades Límites e identidades Un estudio del personaje en el cine moderno europeo Gloria Patricia Jaramillo Ampuero ADVERTIMENT. La consulta d’aquesta tesi queda condicionada a l’acceptació de les següents condicions d'ús: La difusió d’aquesta tesi per mitjà del servei TDX (www.tdx.cat) i a través del Dipòsit Digital de la UB (diposit.ub.edu) ha estat autoritzada pels titulars dels drets de propietat intel·lectual únicament per a usos privats emmarcats en activitats d’investigació i docència. No s’autoritza la seva reproducció amb finalitats de lucre ni la seva difusió i posada a disposició des d’un lloc aliè al servei TDX ni al Dipòsit Digital de la UB. No s’autoritza la presentació del seu contingut en una finestra o marc aliè a TDX o al Dipòsit Digital de la UB (framing). Aquesta reserva de drets afecta tant al resum de presentació de la tesi com als seus continguts. En la utilització o cita de parts de la tesi és obligat indicar el nom de la persona autora. ADVERTENCIA. La consulta de esta tesis queda condicionada a la aceptación de las siguientes condiciones de uso: La difusión de esta tesis por medio del servicio TDR (www.tdx.cat) y a través del Repositorio Digital de la UB (diposit.ub.edu) ha sido autorizada por los titulares de los derechos de propiedad intelectual únicamente para usos privados enmarcados en actividades de investigación y docencia. No se autoriza su reproducción con finalidades de lucro ni su difusión y puesta a disposición desde un sitio ajeno al servicio TDR o al Repositorio Digital de la UB. No se autoriza la presentación de su contenido en una ventana o marco ajeno a TDR o al Repositorio Digital de la UB (framing). Esta reserva de derechos afecta tanto al resumen de presentación de la tesis como a sus contenidos. En la utilización o cita de partes de la tesis es obligado indicar el nombre de la persona autora. WARNING. On having consulted this thesis you’re accepting the following use conditions: Spreading this thesis by the TDX (www.tdx.cat) service and by the UB Digital Repository (diposit.ub.edu) has been authorized by the titular of the intellectual property rights only for private uses placed in investigation and teaching activities. Reproduction with lucrative aims is not authorized nor its spreading and availability from a site foreign to the TDX service or to the UB Digital Repository. Introducing its content in a window or frame foreign to the TDX service or to the UB Digital Repository is not authorized (framing). Those rights affect to the presentation summary of the thesis as well as to its contents. In the using or citation of parts of the thesis it’s obliged to indicate the name of the author. Límites e identidades Un estudio del personaje en el cine moderno europeo Tesis doctoral Límites e identidades Un estudio del personaje en el cine moderno europeo Gloria Patricia Jaramillo Ampuero Director: Dr. José Enrique Monterde Lozoya Plan de doctorado: HDK17 – SOCIETAT I CULTURA Departament d’Història de l’art – Universitat de Barcelona 2018 Índice 1. Introducción y objetivos La modernidad cinematográfica como objeto de estudio ................. 12 2. Estado de la cuestión Sujetos, identidades y tópicos: aportaciones teóricas al estudio del personaje en el cine moderno europeo ........................................... 20 3. Marco teórico Identidades y realidades liminares: el personaje fílmico moderno como herramienta estética ........................................................................ 42 4. Diseño metodológico ........................................................................ 56 4.1. Análisis del personaje fílmico moderno: esbozo de una metodología .................................................................... 56 4.2. Desarrollo de la hipótesis e introducción al concepto de identidad límite (Capítulo 5) ............................................ 57 4.3. Planteamiento de las relaciones entre el autor, sus discursos y la construcción de la identidad del personaje (Capítulo 6) ...................................................................... 58 4.4. Análisis de las identidades femeninas y masculinas en el contexto del discurso amoroso (Capítulo 7) ..................... 59 4.5. Exploración de las relaciones entre la identidad límite del personaje y su función narrativa dentro del filme (Capítulo 8) ..................................................................................... 60 CAPÍTULO 5: Entre la subjetividad y el tópico: definiendo los límites identitarios del personaje fílmico moderno ...................................... 64 5.1. La identidad del personaje fílmico moderno como caso de estudio ............................................................................. 64 5.2. Capitalismo, industria cultural y el problema de la identidad en el cine moderno europeo ............................................ 66 5.3. Identidades estereotipadas: la figura del tópico como herramienta crítica en el cine moderno europeo ............. 88 CAPÍTULO 6: Autoría, discurso e ideología: configuración de nuevas identidades en el cine moderno europeo ...................................... 102 6.1. Institucionalización del Autor ......................................... 102 6.1.1. Cahiers du Cinéma y la política de los autores .. 105 6.2. Ideologías y verosímiles: el autor como creador de nuevas realidades e identidades ............................................... 114 6.3. Algunas teorías acerca de la “muerte del autor” ........... 122 6.4. Identidades límite e ideologías en el personaje femenino proletario: seis análisis fílmicos breves ......................... 126 6.4.1. Niño rico, niña pobre: el amor y las diferencias de clase en Szabad lélegzet (1973) de Márta Mészáros ............................................................................ 129 6.4.2. De la barriada a la ciudad: evolución del personaje femenino proletario entre Roma, ciudad abierta (Roma città aperta, 1945) de Roberto Rossellini, El grito (Il grido, 1957) de Michelangelo Antonioni y Mamma Roma (1962) de Pier Paolo Pasolini ..... 132 6.4.3. Romances, dramas y tópicos: Un acotado estudio de la representación de la mujer proletaria en el Free Cinema ............................................................... 138 6.4.4. De la necesidad de ser amada: un reclamo de identidad en Los amores de una rubia (Lásky jedné plavovlásky, 1965) de Miloš Forman y Mouchette (1967) de Robert Bresson .................................. 150 6.4.5. Infidelidad, sexo y crimen: la historia de amor de una mujer proletaria en La tragedia de una empleada de teléfonos (Ljubavni slucaj ili tragedija sluzbenice P.T.T., 1967) de Dušan Makavejev .................... 155 6.4.6. El crimen de las utopías sociales: la identidad alienada de una mujer obrera en La salamandra (Le salamandre, 1971) de Alain Tanner ................... 160 CAPÍTULO 7: Lo masculino, lo femenino y lo identitario en los límites del amor y de la disidencia .................................................................. 168 7.1. Subjetividad, artificio y alienación: el otro lado de la frontera en la identidad límite del personaje ............................... 168 7.2. Subjetividad masculina y alienación femenina: las dos caras de la identidad en las historias de amor ......................... 175 7.3. Un cine edípico, un cineasta demiurgo, un personaje como alter ego: la identidad masculina del autor a través del filme ....................................................................................... 180 7.4. Identidades masoquistas (masculinas) y no-identidades (femeninas) ................................................................... 187 7.5. Jóvenes, enamorados y rebeldes: cinco breves exploraciones en torno al amor y la ideología ................ 198 7.5.1. El desarrollo de la educación sentimental y el cambio generacional en los Nuevos Cines ..................... 198 7.5.2. Crisis de pareja e infidelidad: relaciones entre el discurso amoroso y el compromiso moral en Crónica de un amor (Cronaca di une amore, 1950) y La noche (La notte, 1960) de Michelangelo Antonioni y El último tango en París (Ultimo tango a Parigi, 1972) de Bernardo Bertolucci ....................................... 204 7.5.3. Un acercamiento a la figura del trío amoroso: breves análisis a Les amants (1958) de Louis Malle y Antes de la revolución (Prima della rivoluzione, 1964) de Bernardo Bertolucci ............................................ 209 7.5.4. La identidad límite del dandy: breve análisis de Los primos (Les cousins, 1959) de Claude Chabrol ... 214 7.5.5. El giro ideológico: un breve análisis de las estructuras identitarias en Sedmikrásky [Las margaritas, 1966] de Vera Chytilová y un breve recorrido por el caso del Nuevo Cine Húngaro .... 217 CAPÍTULO 8: Autoría, subjetividad y puesta en escena: exploración de una nueva estructura narrativa en el relato fílmico moderno ......... 226 8.1. Discursividad, estilo y puesta en escena: construcción de un lenguaje cinematográfico ......................................... 243 8.2. Lo imposible del deseo en la configuración del relato fílmico: análisis de Cuatro noches de un soñador (Quatre nuits d’un rêveur, 1971) de Robert Bresson .................................. 256 9. Conclusiones De lo particular a lo general: la identidad límite del personaje como una manifestación (y superación) de lo moderno en el cine ......... 304 10. Resumen ....................................................................................... 310 11. Bibliografía y hemerografía ...........................................................
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