Países De Ficción En Europa: Etiología Y Arquetipos

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Países De Ficción En Europa: Etiología Y Arquetipos UNIVERSIDAD COMPLUTENSE DE MADRID FACULTAD DE CIENCIAS DE LA INFORMACIÓN DEPARTAMENTO DE COMUNICACIÓN AUDIOVISUAL Y PUBLICIDAD TESIS DOCTORAL Países de ficción en Europa: etiología y arquetipos MEMORIA PARA OPTAR AL GRADO DE DOCTORA PRESENTADA POR Sonia Sánchez Recio DIRECTOR Francisco García García Madrid, 2017 © Sonia Sánchez Recio, 2016 UNIVERSIDAD COMPLUTENSE DE MADRID FACULTAD DE CIENCIAS DE LA INFORMACIÓN Departamento de Comunicación Audiovisual y Publicidad PAÍSES DE FICCIÓN EN EUROPA: ETIOLOGÍA Y ARQUETIPOS MEMORIA PRESENTADA PARA OPTAR AL GRADO DE DOCTOR POR Sonia Sánchez Recio Bajo la dirección del Catedrático Dr. Francisco García García Madrid, 2015 “Ahora escuche mi voz. Le ayudará y le llevará hacia Europa cada vez más profundamente; cuando escuche mi voz, con cada palabra y cada número, entrará en un nivel más profundo, más abierto, relajado y receptivo. Voy a contar de uno a diez. Cuando llegue a 10, estará en Europa” (Introducción de Max Von Sidow Europa, de Lars Von Trier) “El símbolo literario, al igual que el religioso, crea un mundo que está más allá de éste: un mundo de felicidad e inmortalidad, un mundo que –si la realización del ideal es imposible- permite una gratificación vicaria como en los sueños, y en el soñar despierto, la identificación con el héroe o la heroína o la vida más allá. La literatura crea una mitología global”. (Ética de la felicidad y otros lenguajes, José Luís López Aranguren) AGRADECIMIENTOS: A mi profesor, el Dr. Francisco García García, por todas las orientaciones científicas y el estímulo para elaborar esta tesis doctoral, así como por su ejemplo de trabajo y dedicación También a la excelente Asociación Científica ICONO 14, con la que me siento muy honrada de colaborar Quiero agradecer a mis padres su apoyo constante y que sean un ejemplo vital para mi A mis hermanos, mi sobrina Iris, y mis amigos, su paciencia por no haberles podido dedicar todo el tiempo que se merecían A Roberto Sánchez, y a su equipo, por su ayuda con la edición y la encuadernación de este trabajo A Hilda Martín, por el asesoramiento con las traducciones Al maestro Eugenio Trías, in memoriam, que me descubrió el sendero de la simbología en el cine, del que ya no hay marcha atrás Índice Resumen y palabras clave. Abstract and Keywords Cuadros y figuras 1.-INTRODUCCIÓN 1.1.-Objeto y contexto de la investigación 1.1.1.-Objeto material: países de ficción en el cine 1.1.2.-Delimitación: el ámbito fílmico 1.2.-Justificación 1.2.1.-Justificación personal 1.2.2.-Justificación teórica y aplicada 1.3.-Objetivos generales 1.4- Finalidad y público al que está destinado 1.5.-Oportunidad del tema 1.6.-Estructura de la investigación 2.-ESTADO DE LA CUESTIÓN Y TEORÍAS PREVIAS 2.1.-Estudios precedentes 2.1.1.-Fuentes bibliográficas 2.1.2.-Otras fuentes 2.1.2.1.-Fuentes literario-ideológicas 2.1.2.2.-Fuentes filosóficas y sociológicas 2.1.2.3.- Etiología y fuentes históricas 2.2.-Teorías sobre países de ficción 2.3.1.-Umberto Eco 2.3.2.-Norman Davies 3.-DISEÑO DE LA INVESTIGACIÓN 3.1.-Objeto formal: análisis textual 3.2.-Preguntas de investigación 3.3.-Objetivos específicos 3.4.-Hipótesis 3.4.1.-Hipótesis generales 3.4.2.-Hipótesis particulares 3.5.-Metodología 3.5.1.-Fundamentación del análisis textual 3.5.2.-Corpus de análisis 3.5.2.1.-Criterios de selección y agrupamiento 3.5.2.2.-Tamaño y composición de la muestra 3.5.3.- Modelo de análisis 4.-ANÁLISIS E INTERPRETACIÓN. 4.1.- Modelo A o fundacional. Arquetipo de Ruritania 4.1.1.-Características del modelo 4.1.2.-Película El prisionero de Zenda 4.1.2.1.-Poética fílmica. Discurso narrativo 4.1.2.1.1.-La historia 4.1.2.1.2.-El espacio 4.1.2.1.3.-El tiempo 4.1.2.1.4.-Los personajes 4.1.2.2.-Poética fílmica II.Discurso audiovisual 4.1.2.2.1.-Imagen 4.1.2.2.2.-Sonido 4.1.2.3.-Estética fílmica 4.1.2.4.-Retórica fílmica 4.1.2.4.1.-Construcciones retóricas 4.1.2.4.2.-Valor metafórico 4.1.2.4.3.-Ironía y parodia 4.1.2.5.-Análisis metaléptico 4.1.2.6.-Aplicaciones de la Heterocósmica 4.1.2.6.1.-Mundos multipersonales 4.1.2.6.2.-Interacción y poder 4.1.2.6.3.-Funciones intensionales 4.1.2.6.3.1.-Extensión e intensión 4.1.2.6.3.2.-La función intensional 4.1.2.6.3.3.-Función de autentificación 4.1.2.6.4.-Resultados 4.2.- Modelo B. Arquetipo de Freedonia 4.2.1.-Características del modelo 4.2.2.-Película Sopa de ganso 4.2.2.1.-Poética fílmica. Discurso narrativo 4.2.2.1.1.-La historia 4.2.2.1.2.-El espacio 4.2.2.1.3.-El tiempo 4.2.2.1.4.-Los personajes 4.2.2.2.-Poética fílmica II.Discurso audiovisual 4.2.2.2.1.-Imagen 4.2.2.2.2.-Sonido 4.2.2.3.-Estética fílmica 4.2.2.3.1.-Influencia de las operetas. La viuda alegre 4.2.2.3.2.-Influencia de las singspiele y el cabaret 4.2.2.4.-Retórica fílmica 4.2.2.4.1.-Construcciones retóricas 4.2.2.4.2.-Valor metafórico 4.2.2.4.3.-Ironía y parodia 4.2.2.5.-Análisis metaléptico 4.2.2.6.-Aplicaciones de la Heterocósmica 4.2.2.6.1.-Mundos multipersonales 4.2.2.6.2.-Interacción y poder 4.2.2.6.3.-Funciones intensionales 4.2.2.6.3.1.-Extensión e intensión 4.2.2.6.3.2.-La función intensional 4.2.2.6.3.3.-Función de autentificación 4.2.2.6.4.-Resultados 4.3.- Modelo C. Arquetipo de Tomania 4.3.1.-Características del modelo 4.3.2.-Película El gran dictador 4.3.2.1.-Poética fílmica. Discurso narrativo 4.3.2.1.1.-La historia 4.3.2.1.2.-El espacio 4.3.2.1.3.-El tiempo 4.3.2.1.4.-Los personajes 4.3.2.2.-Poética fílmica II.Discurso audiovisual 4.3.2.2.1.-Imagen 4.3.2.2.2.-Sonido 4.3.2.3.-Retórica fílmica 4.3.2.3.1.-Construcciones retóricas 4.3.2.3.2.-Valor metafórico 4.3.2.3.3.-Ironía y parodia 4.3.2.4.-Análisis metaléptico 4.3.2.5.-Aplicaciones de la Heterocósmica 4.3.2.5.1.-Mundos multipersonales 4.3.2.5.2.-Interacción y poder 4.3.2.5.3.-Funciones intensionales 4.3.2.5.3.1.-Extensión e intensión 4.3.2.5.3.2.-La función intensional 4.3.2.5.3.3.-Función de autentificación 4.3.2.5.4.-Resultados 4.4.- Modelo D. Arquetipo de Zubrowka 4.4.1.- Características del modelo 4.4.2.-Película El gran Hotel Budapest 4.4.2.1.-Poética fílmica. Discurso narrativo 4.4.2.1.1.-La historia 4.4.2.1.1.1.-La literatura de Stefan Zweig como trasfondo 4.4.2.1.2.-El espacio 4.4.2.1.2.1.-Galitzia, país de inspiración 4.4.2.1.2.2.-Los limes de Europa, como vías de tren 4.4.2.1.3.-El tiempo 4.4.2.1.4.-Los personajes 4.4.2.2.-Poética fílmica II.Discurso audiovisual 4.4.2.2.1.-Imagen 4.4.2.2.2.-Sonido 4.4.2.3.-Estética fílmica 4.4.2.4.-Retórica fílmica 4.4.2.4.1.-Construcciones retóricas 4.4.2.4.2.-Valor metafórico 4.4.2.4.3.-Ironía y parodia 4.4.2.5.-Análisis metaléptico 4.4.2.6.-Aplicaciones de la Heterocósmica 4.4.2.6.1.-Mundos multipersonales 4.4.2.6.2.-Interacción y poder 4.4.2.6.3.-Funciones intensionales 4.4.2.6.3.1.-Extensión e intensión 4.4.2.6.3.2.-La función intensional 4.4.2.6.3.3.-Función de autentificación 4.4.2.6.4.-Resultados 5.-CONCLUSIONES 6.-DISCUSIÓN Y APORTACIONES 7.-APLICACIONES 8.-FUENTES BIBLIOGRÁFICAS Resumen y palabras clave Ruritania, Sylvania, Marshovia y Freedonia son países de ficción, que sin embargo “existen” para el espectador de cine. Si le pidieran que los situase en un eje espacio-temporal, sin duda los ubicaría en la Europa central y del este, y desde luego en un periodo cronológico entre finales del siglo XIX y –como muy tarde- primera mitad del siglo XX. Pensaría, de manera consciente, o tal vez intuitiva, en la Europa de los Habsburgo anterior a la I Guerra Mundial, y en las naciones que surgieron con el nuevo orden determinado tras la II Guerra Mundial. Un estereotipo de país en el marco de la cultura centroeuropea acuñado por la imaginación anglosajona. Ese ha sido el vehículo para proyectar la imagen que, de manera fascinada, contemplaban artistas británicos e irlandeses, y que transmitieron al resto del mundo mediante la literatura, principalmente, hasta el primer tercio del siglo XX, en el que una nueva forma artística, el cine, tomó el relevo a los libros y se elaboraron guiones de películas que, de nuevo, reflejaban con nostalgia a unos países con aire decimonónico, pre-industrial, y marcadamente folklórico. Películas que se detienen en la imagen decadente, y de alta cultura a la vez, de la “Mitteleuropa” de Sisi y Francisco José de Habsburgo. Una época que se corresponde con el “pensamiento artístico polifònico”, al que se refería Stefan Zweig al evocar a Viena, la capital de ese imperio: “una ciudad, maravillosamenta orquestada.
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