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Universidad Peruana De Ciencias Aplicadas (UPC) Cine y realidad en Gaspar Noé Item Type info:eu-repo/semantics/bachelorThesis Authors Gamarra Reyes, Kiandra Publisher Universidad Peruana de Ciencias Aplicadas (UPC) Rights info:eu-repo/semantics/openAccess; Attribution- NonCommercial-ShareAlike 4.0 International Download date 24/09/2021 04:55:23 Item License http://creativecommons.org/licenses/by-nc-sa/4.0/ Link to Item http://hdl.handle.net/10757/655755 UNIVERSIDAD PERUANA DE CIENCIAS APLICADAS FACULTAD DE COMUNICACIONES PROGRAMA ACADÉMICO DE COMUNICACIÓN AUDIOVISUAL Y MEDIOS INTERACTIVOS Cine y realidad en Gaspar Noé TESIS Para optar el título profesional de Licenciado en Comunicación Audiovisual y Medios Interactivos AUTORA Gamarra Reyes, Kiandra (0000-0002-7133-488X) ASESOR Ruiz Zevallos, Jorge Augusto (0000-0002-6471-5641) Lima, [24 de febrero del 2021] A Aurora. I AGRADECIMIENTOS Esta investigación comenzó a partir del último año de mi carrera universitaria. Agradezco a Lorena Best por ayudarme a decidir un tema que en su momento no consideré que terminaría siendo de tanta relevancia para mí. A mi asesor, Jorge Ruiz, por interesarse en mi tema, resolver mis inumerables dudas, guiarme y apoyarme durante este arduo proceso. A David Duponchel, José Carlos Cabrejo y Ricardo Bedoya, por separar su apretada agenda para poderlos entrevistar. Agradezco también a Mauricio Blas, por su constante motivación. Por último, quiero agradecer a mi mamá por levantar mis ánimos cada vez que sentía que no podía más. Gracias por tu cariño infinito y por siempre creer en mí. Este trabajo es para ti. II RESUMEN Gaspar Noé, director franco-argentino, es conocido por los temas y escenas controversiales de su filmografía, donde la violencia es lo primero que destaca. No obstante, se puede identificar otros elementos que tienen igual relevancia en la estructura de sus películas. El cuerpo humano es uno de ellos. Noé presenta de cerca el placer y el sufrimiento de sus personajes para que el espectador los perciba en carne propia. Busca conmocionar al espectador con escenas difíciles de ver y escuchar. El director exhibe las cosas de una manera transgresora para mostrar el malestar que existe dentro de Francia. La presente tesis ofrece un estudio sobre la construcción de la realidad en el cine, la representación de la sociedad francesa, el Nuevo Extremismo Francés y el contexto social, político y económico de Francia, los cuales permitirán conocer mejor su entorno, el lenguaje audiovisual que utiliza y los referentes que han influido en su estilo. Asimismo, estos puntos servirán de base para analizar la filmografía del director. El análisis realizado evidencia que Gaspar Noé, desde sus inicios, exhibe una realidad pesimista que va reforzándola con los años al mostrar una sociedad que se desmorona, personas infelices cuyas acciones son irreversibles y la inevitabilidad del destino. Este estudio enriquece el realismo en el cine, incorporando la realidad poco convencional de Gaspar Noé. Palabras clave: Gaspar Noé; realidad; cuerpo; transgresión; Nuevo Extremismo Francés; violencia; Francia. III Cinema and reality in Gaspar Noé ABSTRACT Gaspar Noé, a French-Argentine director, is known for the controversial themes and scenes in his filmography, where violence is the first thing that stands out. However, other elements can be identified that have equal relevance in the structure of his films. The human body is one of them. Noé presents the pleasure and suffering of his characters closely so that the viewer perceives them first-hand. He seeks to shock the viewer with scenes that are difficult to see and hear. The director exhibits things in a transgressive way to show the malaise that exists within France. This thesis offers a study on the construction of reality in cinema, the representation of French society, the New French Extremism and the social, political and economic context of France, which will allow a better understanding of its environment, the audiovisual language that uses and the references that have influenced his style. Likewise, these points will serve as the basis for analyzing the director's filmography. The analysis carried out shows that Gaspar Noé, from the beginning, exhibits a pessimistic reality that is reinforcing it over the years by showing a society that is crumbling, unhappy people whose actions are irreversible and the inevitability of destiny. This study enriches realism in film, incorporating the unconventional reality of Gaspar Noé. Keywords: Gaspar Noé; reality; body; transgression; New French Extremism; violence; France. IV TABLA DE CONTENIDOS 1 CAPÍTULO I: PLANTEAMIENTO DEL PROBLEMA ........................................ 3 1.1 Elección del tema ................................................................................................. 3 1.2 Situación problemática ....................................................................................... 3 1.3 Justificación .......................................................................................................... 7 1.4 Formulación del problema .................................................................................. 8 1.5 Objetivo general ................................................................................................... 8 1.6 Objetivos específicos ............................................................................................ 8 1.7 Supuestos de la investigación .............................................................................. 8 1.8 Hallazgos esperados ............................................................................................. 9 2 CAPÍTULO II: MARCO TEÓRICO ........................................................................ 9 2.1 Antecedentes de investigación ............................................................................ 9 2.2 La construcción de la realidad en el cine ......................................................... 11 2.2.1 Teorías sobre el realismo en el cine................................................................. 11 2.2.2 El neorrealismo italiano ................................................................................... 21 2.2.3 Nouvelle Vague o la Nueva Ola Francesa ....................................................... 25 2.2.4 Cinéma Vérité o cine de realidad .................................................................... 28 2.2.5 Dogma 95 ........................................................................................................ 31 2.3 El Nuevo Extremismo Francés: Representantes y representación ............... 36 2.4 Contexto social, politico y económico de Francia ........................................... 53 2.4.1 Mayo de 68 ...................................................................................................... 54 2.4.2 Movimientos sociales influenciados por Mayo de 68 ..................................... 59 2.4.3 La sociedad como estatus ................................................................................ 67 2.4.4 Inmigración, xenofobia y disturbios en Francia .............................................. 70 2.4.5 Desigualdad de género y homofobia ............................................................... 73 3 CAPÍTULO III: MARCO METODOLÓGICO ..................................................... 77 3.1 Tipo de investigación ......................................................................................... 77 3.2 Paradigma de la investigación .......................................................................... 77 3.3 Diseño de la investigación ................................................................................. 78 3.4 Estudio de caso ................................................................................................... 79 3.5 Instrumentos de investigación .......................................................................... 82 V 4 CAPÍTULO IV: ANÁLISIS INTERPRETATIVO ................................................ 85 5 CAPÍTULO V: CONCLUSIONES ........................................................................ 156 6 REFERENCIAS ...................................................................................................... 163 7 ANEXOS .................................................................................................................. 178 7.1 Fichas técnicas ................................................................................................. 178 7.2 Matriz de consistencia ..................................................................................... 185 7.3 Cuadros de observación .................................................................................. 186 7.3.1 Tintarella di luna ............................................................................................ 186 7.3.2 Carne .............................................................................................................. 188 7.3.3 Une expérience d'hypnose télévisuelle .......................................................... 190 7.3.4 Solo Contra Todos ......................................................................................... 191 7.3.5 Irreversible ..................................................................................................... 194 7.3.6 Intoxication .................................................................................................... 199 7.3.7 Eva ................................................................................................................. 200 7.3.8 We Fuck Alone .............................................................................................
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