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Lo Irónico-Sublime Como Recurso Retórico En El Cine De No-Ficción De Werner Fabiola Alcalá Anguiano

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Lo Irónico-Sublime Como Recurso Retórico En El Cine De No-Ficción De Werner Fabiola Alcalá Anguiano Lo irónico-sublime como recurso retórico en el cine de no-ficción de Werner Herzog. El caso de The White Diamond , Grizzly Man y The Wild Blue Yonder . Fabiola Alcalá Anguiano Departamento de Comunicación Universidad Pompeu Fabra Bienio 2004-2006 DIRECTORES: Dr. Josep María Català Domènech y Dra. Eva Pujadas Capdevila Resumen El objetivo de esta Tesis es el estudio de lo irónico-sublime como figura retórica en tres filmes de no-ficción de Werner Herzog: The White Diamond , Grizzly Man y The Wild Blue Yonder . El texto esta dividido en dos partes: la primera, en la que se plantea un recorrido por los distintos contextos históricos, teóricos y artísticos que nos permiten reconocer cuáles son las características de este tipo de cine de no-ficción; una propuesta en la que lo real juega un papel más poético, y en la que la verdad que se persigue no es una verdad congruente con unos hechos determinados sino con una estética más universal. En la segunda parte, se analiza de qué forma opera lo irónico- sublime (la principal característica del cine de no-ficción de Werner Herzog) en las distintas partes que conforman las tres películas que nos ocupan. Humor y belleza serán la clave para interpretar estas tres historias sobre el hombre, la naturaleza y sus límites. Abstract The objective of this Thesis is to study the ironic-sublime as a rhetorical figure in three nonfiction films by Werner Herzog: The White Diamond, Grizzly Man and The Wild Blue Yonder . The text is divided in two parts: the first one, is a review for different historical, theoretical and artistic contexts that allow us to recognize which are the characteristics of this type of non-fiction cinema; an offer in which the real plays a more poetical role, and the truth that is prosecuted is not true with a few certain facts but with a more universal aesthetics. In the second part, it is analyzed how works the ironic-sublime (the principal characteristic of the non-fiction cinema of Werner Herzog) in the different parts that shape three movies that occupy us. Humor and beauty will be the key to interpret this three histories about man, nature and his limits . Agradecimientos A los directores de esta tesis: al Dr. Josep María Català por ayudarme a pensar el cine y sus imágenes de una forma distinta y profunda, por contagiarme el gusto por el documental, y sobre todo por ser un mentor tan impecable y riguroso como sus propios textos. A la Dra. Eva Pujadas, por su paciencia y generosidad, por convertir una serie de gustos e intuiciones en un proyecto de investigación, con todo lo que esto representa. Al Dr. Salvador Alsius y al Grup de Recerca en Periodisme (GRP), que no sólo me brindaron la oportunidad de trabajar a su lado, sino que además me permitieron realizar mi investigación en paralelo, una experiencia potencialmente enriquecedora. De forma especial quisiera agradecer al Dr. Francesc Salgado porque sin su ayuda este proyecto no se hubiera materializado. Fue el guía en cada uno de los procesos de esta tesis, desde la selección del tema hasta la forma de presentarlo; además del amigo que no te permite claudicar y permanece siempre a tu lado. Esta investigación también fue sumamente enriquecida por los aportes de la Dra. Mercè Ibarz y por el trabajo del Dr. Antonio Weinrichter, con quien tuve la oportunidad de compartir el gusto por el cine documental de Werner Herzog. Por último, agradecer a las dos personas que durante todo el proceso me han brindado su paciencia y su cariño: a Sandra Luque y a Luis Ruiz. Índice 1. INTRODUCCIÓN 17 2. MARCO METODOLÓGICO 27 2.1. Objetivo e hipótesis 27 2.2 Justificación del objeto de estudio 32 2.2.1 Sinécdoque y sofisticación 33 2.2.2 Formas híbridas 43 2.3 Estado de la cuestión 49 2.3.1 La digitalización y el giro subjetivo 49 2.3.2 Ausencia en la Tradición 53 2.4 Herramientas metodológicas 58 2.4.1 La interpretación hermenéutica 59 2.4.2 La importancia de un estudio 63 transdisciplinar 2.4.3 Estructura y organización 67 3. CARACTERÍSTICAS DEL CINE DE NO- 71 FICCIÓN DEL DIRECTOR WERNER HERZOG 3.1. El Nuevo Cine Alemán 71 3.1.1. Industria y producción independiente 74 3.1.2. La identidad nacional 76 3.1.3. El realismo irónico 80 3.1.4. La influencia del arte 83 a) Wagner y Herzog 88 3.1.5. Una nueva gramática 91 a) El mito “Werner Herzog” 94 3.2. El papel de lo real 97 3.2.1. Ficción vs documental 97 3.2.2. Recursos de ficción utilizados en el 99 documental 3.2.3. La “Declaración de Minnesota” como 105 manifiesto 3.2.5. La verdad extática y el stupid eye 111 3.3. La modernidad y sus imágenes 117 3.3.1. Deleuze y su trabajo sobre cine 118 3.3.2. La modernidad cinematográfica y la 121 imagen-tiempo 3.3.3. La imagen-cristal 124 3.4 Teoría y tradición documental 129 3.4.1 La modalidad performativa 131 3.4.2 La modalidad poética 136 3.4.3 El film-ensayo 138 3.5 La visión romántica 141 3.5.1 El paisaje romántico 145 3.5.2 Lo sublime 151 a) Lo siniestro 160 3.5.3 La ironía romántica 163 4. LO IRÓNICO-SUBLIME EN THE WHITE DIAMOND , 171 GRIZZLY MAN Y THE WILD BLUE YONDER 4.1 Argumentos 175 4.2 Personajes 183 4.2.1 Los fanáticos 184 4.2.2 Los inocentes 185 4.2.3 El documentalista 186 4.3 Estructura y orden 189 4.3.1 Las introducciones 189 4.3.2 El comentario 196 4.3.3 El diálogo 199 4.4 Motivos 201 4.4.1 La ausencia 201 4.4.2 El paisaje 208 4.4.3 La confesión 213 4.4.4 El éxtasis 218 CONCLUSIONES 223 BIBLIOGRAFÍA 233 FILMOGRAFÍA 243 FICHAS TÉCNICAS 247 ANEXO 1. DESCRIPCIÓN DE ESCENAS 255 ANEXO 2. MANIFIESTO DE OBERHAUSEN 287 ANEXO 3. DECLARACIÓN DE MINNESOTA 289 Lista de figuras Pág. Fig. 1. The Flying Doctors of East Africa 19 Fig. 2.. How Much Wood Would a Woodchuck Chuck 23 Fig. 3. Infiltración homogénea para piano de cola 85 Fig. 4. Nanook of the North y Ballad of the Little Soldier 101 Fig. 5. Heart of Glass 127 Fig. 6. El Océano Glaciar - Heart of Glass 148 Fig. 7. Monje junto al mar - The Enigma of Kaspar Hauser 150 Fig. 8. Wodaabe - Herdsmen of the Sun 158 Fig. 9. The White Diamond 188 Fig. 10. The Wild Blue Yonder 195 Fig. 11. The Wild Blue Yonder 206 Fig. 12. Paisajes 210 Fig. 13. Animales 212 Fig. 14. Grizzly Man 216 Fig. 15. El vuelo del “diamante blanco” 220 Fig. 16. Un habitante del planeta Azul 222 1. INTRODUCCIÓN Mi primer acercamiento a la obra de Werner Herzog fue el visionado de dos cortometrajes documentales: The Flying Doctors of East Africa (1969) y How Much Wood Would a Woodchuck Chuck (1976). En ese tiempo empezaba a interesarme por el cine pero sobre todo por el documental, descubrí que era una de las mejores herramientas para pensar y reflexionar sobre la realidad, la historia y la memoria, a través de imágenes y sonidos. Y así, me encontré con estos cortos, casi por casualidad. Eran producciones para la televisión que se distribuyeron muy poco,piezas prácticamente desconocidas tanto en México como en España 1. Al verlos quedé sumamente sorprendida por la maestría con la que Herzog contaba ambas historias, tan propias del género, pero de forma tan poco ortodoxa. 1 La era del DVD ha facilitado la distribución de piezas que como éstas eran muy difíciles de conseguir cuando no existía este formato. En 2004 la productora Werner Herzog film editó un cofre de documentales y cortometrajes con 6 DVD’s que recopilan piezas desde 1962 hasta 1999, en las que se incluyen estos dos títulos, por lo que ahora se pueden consultar con mayor facilidad. 17 The Flying Doctors of East Africa narra la historia de un grupo de médicos occidentales, que con muchas dificultades, brindan asistencia sanitaria a gente sin recursos del este de África. Aparentemente es un documental tradicional, muchas de sus imágenes las podríamos encontrar en otros filmes de corte etnográfico; sin embargo, el tono de la película y en particular un par de sus escenas, nos hacen pensar que lo que al director le interesa más, es la tesis contraria a la del cine etnográfico, es decir, no se suma a la idea del documental de servir como puente entre dos culturas sino todo lo contrario, refleja su ineficacia. La primera escena a la que me refiero, es aquella en la que una trabajadora social explica, que los africanos no reconocen un ojo humano, ni tampoco a una mosca de la zona causante de serias infecciones oculares, por estar representados en láminas que ampliaban enormemente su tamaño, para ellos esos gigantes en dos dimensiones simplemente no existen, son otra cosa. Este tipo de representación gráfica, tan familiar para el mundo occidental, no forma parte de la manera de percibir y de entender la realidad de los africanos. La figura 1, da cuenta del tipo de material que utilizaban los Doctores, imágenes que para la cultura occidental resultan bastante habituales pero que para los africanos no. 18 figura 1. The Flying Doctors of East Africa Y la segunda escena, es cuando los africanos no entran a recibir atención médica a la caravana -equipada con un quirófano y con un equipo de rayos X- en dónde pasan consulta los doctores occidentales, por no saber subir escaleras.
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