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Universidad Central Del Ecuador Facultad De Comunicación Social

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Universidad Central Del Ecuador Facultad De Comunicación Social UNIVERSIDAD CENTRAL DEL ECUADOR FACULTAD DE COMUNICACIÓN SOCIAL ANÁLISIS SEMIÓTICO DE LOS LENGUAJES KINÉSICOS Y PROXÉMICOS DE LA PELÍCULA “LA PROFECÍA I” TRABAJO DE GRADO PREVIO A LA OBTENCIÓN DEL TÍTULO DE LICENCIADO EN COMUNICACIÓN SOCIAL ANDRÉS ERNESTO PONCE PROAÑO DIRECTOR: MGS. DIMITRI MAXIMILIANO MADRID MUÑOZ Quito- Ecuador 2014 DEDICATORIA Dedico esta Tesis de Grado a mi hermano Santiago Ponce, quien con su apoyo e incentivo incondicional me permitió lograr culminar este trabajo de forma satisfactoria y a mi familia que colaboró todo el tiempo. ii AGRADECIMIENTOS: A Dios por ser mi fuente de inspiración y a quien le debo mi vida, a mis padres y a mi familia por inculcar en mí valores de responsabilidad, amor, disciplina y perseverancia, a las autoridades de las Instituciones laborales en las que me desempeño como al Coro de la Casa de la Cultura Ecuatoriana por demostrar su comprensión y respaldo frente a este trabajo; y a mis verdaderos amigos, quiénes a pesar de que no los veo constantemente me han brindado su apoyo, especialmente en las situaciones más difíciles. iii AUTORIZACIÓN DE LA AUTORÍA INTELECTUAL Yo Andrés Ernesto Ponce Proaño en calidad de autor del trabajo de investigación o tesis realizada sobre: “Análisis semiótico de los lenguajes kinésicos y proxémicos de la película La Profecía I” por la presente autorizo a la UNIVERSIDAD CENTRAL DEL ECUADOR, hacer uso de todos los contenidos que me pertenecen o de parte de los que contiene esta obra, con fines estrictamente académicos o de investigación. Los derechos que como autor me corresponden, con excepción de la presente autorización, seguirán vigentes a mi favor, de conformidad con lo establecido en los artículos 5,6,8;19 y demás pertinentes de la Ley de Propiedad Intelectual y su reglamento. Quito a 27 de noviembre del 2014. CC: 1716760648 [email protected] iv CERTIFICADO En mi condición de Director (Tutor), certifico que el Señor Andrés Ernesto Ponce Proaño, ha desarrollado la tesis de grado titulada “Análisis semiótico de los lenguajes kinésicos y proxémicos de la película La Profecía 1”, observando las disposiciones institucionales que regulan esta actividad académica, por lo que autorizo para que el mencionado señor reproduzca el documento definitivo, presente a las autoridades de la Carrera de Comunicación Social y proceda a la exposición de su contenido bajo mi dirección. Magister: Dimitri Maximiliano Madrid Muñoz Director v INDICE DE CONTENIDO DEDICATORIA ii AGRADECIMIENTOS iii AUTORIZACIÓN DE LA AUTORÍA INTELECTUAL iv HOJA DE APROBACIÓN DEL TUTOR O DIRECTOR DE TESIS v INDICE DE CONENIDO vi RESUMEN xi ABSTRACT xii INTRODUCCIÓN 1 JUSTIFICACIÓN 4 C APÍTULO I SÍNTESIS HISTÓRICA DEL CINE FANTÁSTICO 1.1 Influencia del cine de terror en los seres humanos a través de la historia 7 1.2 El lenguaje del cine 9 1.3 El cine en los primeros tiempos 10 1.3.1 El inicio de los géneros cinematográficos 11 1.4 Apuntes de la fantasía y del horror 12 1.5 El mito en la gran pantalla 14 1.6 La evolución del género terror 1.6.1 El terror clásico 1.6.2 De vampiros a poseídos 16 1.7 El cine a mediados del siglo XX 17 1.7.1 Síntesis de los asesinos en serie 22 1.7.2 El adolescente, el protagonista de los años 90 25 1.8 La sociedad, el internet y las películas apocalípticas 28 1.9 Omen (La Profecía 1976) 31 1.10 La semiótica del cine 32 vi CAPÍTULO II LOS LENGUAJES SEMIÓTICOS NO VERBALES 2.1 La interrelación entre el lenguaje y los sentidos 36 2.2 El signo y su naturaleza 37 2.3 El Lenguaje según Saussure 39 2.3.1 Lingüística sincrónica 2.3.2 Lingüística diacrónica 2.4 El significante y significado 40 2.4.1 El significante y el significado en el ámbito lingüístico 41 2.4.2 Significante y realidad 44 2.5 La motivación onomatopéyica 2.6 La motivación indirecta y el contexto popular 2.7 El Significante en relación con la polisemia 45 2.8 La kinésica y la proxémica 47 2.8.1 Los gestos y las posturas 48 2.9 Significado de los movimientos corporales 2.9.1 Las manos 49 2.9.2 Los hombros 50 2.9.3 La cabeza 51 2.10 La proxémica 53 2.10.1 Diferencias entre espacio y distancia 2.10.1.1 El espacio 54 2.10.1.2 La distancia 55 2.11 Tipos de espacio 2.11.1 Espacio fijo 2.11.2 Espacio semifijo 56 2.12 Tipos de distancia 2.12.1 Distancia íntima 57 2.12.2 Distancia personal vii 2.12.3 Distancia social 58 2.12.4 Distancia pública 59 2.13 La kinésica y su relación con el signo, la imagen y los sentidos 61 2.13.1 Los paralenguajes 62 2.13.2 El signo 63 2.13.3 La imagen 2.13.3.1 Las relaciones entre la imagen y los sentidos 64 CAPÍTULO III LOS LENGUAJES GESTUALES 3.1 El movimiento corporal como herramienta de transmisión de mensajes 67 3.2 Introducción al lenguaje 69 3.3 La lengua 3.3.1 Los niveles de la lengua 71 3.4 Las unidades del sistema de la lengua según Santillana 73 3.5 Lenguas verbales y gestuales 3.5.1 Lengua verbal 3.5.2 Lengua gestual 74 3.6 Los lenguajes gestuales en el cine 76 3.7 El rostro y sus sensaciones 79 3.7.1 Principales elementos gestuales del rostro 3.7.1.1 Las cejas 81 3.7.1.2 Los ojos 83 3.8 Las miradas y sus respuestas 3.8.1 Tipos de miradas 85 3.9 Lo que dicen los ojos 87 3.10 Situación de los ojos 89 3.11 La posición de los ojos 90 3.12 El tamaño de los ojos 91 viii 3.13 La boca 93 CAPÍTULO IV LA PELÍCULA “LA PROFECÍA” CON LOS ANÁLISIS Y RESPUESTAS DEL PÚBLICO FRENTE A LOS PERSONAJES 4.1 Análisis gestual de la película “La Profecía” 99 4.2 La película “La Profecía” 100 4.2.1 Síntesis o argumento 101 4.2.2 Los protagonistas de la película 103 4.3 Análisis de los personajes 4.3.1 Robert Thorn 104 4.3.2 Katherine Thorn 4.3.3 Keith Jennings 4.3.4 La señora Baylock 105 4.3.5 Damián Thorn 4.3.6 Padre Spiletto 4.3.7 Padre Brenan 106 4.3.8 Bugenhagen 4.3.9 El perro 4.4 Secuencias de la película para analizar 107 4.5 Análisis del espectador 110 4.6 Las respuestas del espectador 112 CAPÍTULO V CONCLUSIONES Y RECOMENDACIONES Conclusiones 116 Recomendaciones 117 BIBLIOGRAFÍA 118 ix ÍNDICE DE ANEXOS ANEXO I: Portadas kinésicas de la película “La profecía” 124 ANEXO II: Imágenes previas a la película 126 ANEXO III: Imagen de los protagonistas de la película 128 ANEXO IV: Elenco de actores principales y secundarios 130 ANEXO V: Ejemplo de una secuencia fílmica 134 ANEXO VI: Secuencias trabajadas de la película 136 ANEXO VII: Encuestas realizadas en base a la película 144 x Análisis semiótico de los lenguajes kinésicos y proxémicos de la película “La Profecía 1” Semiotic Analysis and proxemic languajes Prophecy Movie 1 RESUMEN La película plantea un análisis semiótico de los lenguajes corporales no verbales que tienen los personajes principales de la producción cinematográfica. “La Profecía 1” explica el origen del cine de terror con sus elementos fantásticos: mitos, vampiros, poseídos y cómo los mismos influenciaron en la sociedad. Describe a los lenguajes semióticos no verbales que inician desde el estudio del signo y su naturaleza; hasta llegar al significante, el significado y al análisis de la kinésica y la proxémica en donde forman parte los movimientos y las posturas de las manos, los hombros, la cabeza; así como también al espacio y a la distancia en la que se presentan. Interpreta los lenguajes gestuales del rostro como herramientas de transmisión de mensajes en las miradas, hasta la situación, posición y tamaño de los ojos, las cejas y la boca. Se concluye expresando que el cuerpo en sí es un componente total que identifica a los seres humanos desde su expresión. PALABRAS CLAVES: CINE/ PELÍCULAS DE TERROR/ ANÁLISIS SEMIÓTICO/ KINÉSICA/ PROXÉMICA/ PERCEPCIONES/. xivi ABSTRACT The film presents a semiotic analysis of nonverbal body language of the main characters of the film production. "The Prophecy 1" explains the origin of horror films with fantastic elements such as: myths, vampires, possessed people and how they influenced the society. It describes nonverbal semiotic languages starting from the study of the sign and its nature; until the signifier, the signified and the analysis of kinesics and proxemics where the movements and postures of the hands, shoulders, and the head which are part of it, as well as the space and the distance where they are presented. It interprets sign languages of the face as messaging tools in looks up the situation, position and size of the eyes, eyebrows and mouth. It concludes by stating that the body itself is a component that identifies all humans from their expression. KEYWORDS: MOVIE/ HORROR FILMS / SEMIOTIC ANALYSIS / KINESICS / PROXEMICS / PERCEPTIONS / xiivii INTRODUCCIÓN El análisis de los lenguajes kinésicos de la película “La Profecía 1” constituye una actividad de disgregación y renovación de la producción cinematográfica, para conocer a profundidad los posibles mensajes que puede transmitir el film desde sus personajes. A través de este proceso se mostrará la estructura de la kinésica a partir de las miradas de los protagonistas, para así, poder establecer una nueva forma de percepción.
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