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Redalyc.Ararat De Atom Egoyan Sintaxis De Una Memoria Exiliada

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Redalyc.Ararat De Atom Egoyan Sintaxis De Una Memoria Exiliada Redalyc Sistema de Información Científica Red de Revistas Científicas de América Latina, el Caribe, España y Portugal Alonso, José Ernesto; Hernández Romero, Cesar Othón Ararat de Atom Egoyan sintaxis de una memoria exiliada Revista Mexicana de Estudios Canadienses (nueva época), núm. 19, 2010, pp. 131- 156 Asociación Mexicana de Estudios sobre Canadá, A.C. Culiacán, México Disponible en: http://www.redalyc.org/src/inicio/ArtPdfRed.jsp?iCve=73920853007 Revista Mexicana de Estudios Canadienses (nueva época) ISSN (Versión impresa): 1405-8251 [email protected] Asociación Mexicana de Estudios sobre Canadá, A.C. México ¿Cómo citar? Número completo Más información del artículo Página de la revista www.redalyc.org Proyecto académico sin fines de lucro, desarrollado bajo la iniciativa de acceso abierto deArarat Atom Egoyan SINTAXIS DE UNA MEMORIA EXILIADA José Ernesto Alonso* y Cesar Othón Hernández Romero** This paper deals with the spacial features of the Atom Egoyan’s film Ararat (2002) from both a formal and symbolic perspective. The film uses various diegetic devices in order to represent the evolution of memory through diasporic genera- tions after the Armenian genocide of 1915. However, the film does not aspire to be a faithful historic representation but a thought exercise about the corruption of memory and the need to find an alternative to this problem. We intend to account for the way in which these strategies articulate themselves in the narrative level as in the semantic level. Introducción por la historia y lenguaje de la al cineasta cultura Armenia. Atom Egoyan nació en el Cairo A los diecinueve años dirigió su el 19 de julio de 1960, hijo de primer cortometraje e inmedia- padres armenio-egipcios que tamente abandonó la Universi- inmigraron a Canadá cuando él dad para dedicarse al cine. Fue en tenía tres años. A consecuencia el Festival de Toronto cuando su del contraste radical que tenían nombre se conoció internacio- sus raíces armenias con la socie- nalmente, pues el ya consagrado * Licenciatura en dad canadiense y las diferencias director alemán Wim Wenders Lengua y Litera- turas Hispánicas con su padre, Egoyan rechazó la declinó el premio de ese evento a de la Universidad Nacional Autóno- cultura familiar cuando era niño. favor de él y de su segundo largo- ma de México. Sin embargo, al entrar a la Uni- metraje Family Viewing. Su cine EL genOcidiO ARmeniO según ATOM EGOyan se ha caracterizado por sintetizar ** Licenciatura en versidad de Toronto, y tras haber “Ararat”, del cineasta armenio-canadiense, está basada en la masacre de Van, Lengua y Literatu- conocido a Harold Nahabedian con gran intuición la conciencia durante el Genocidio Armenio (hecho que es negado por el gobierno turco). Ade- ras Hispánicas de más de explorar el impacto humano de ese acontecimiento histórico, la película la Universidad Na- capellán Armenio-canadiense de del inmigrante que vive angus- cional Autónoma también examina la naturaleza de la verdad y su representación a través del arte. de México. ese instituto, Egoyan se interesó tiado por sobrevivir en un nuevo 130 REVISTA MEXICANA DE ESTUDIOS CANADIENSES NUM 19. PRIMAVERA-VERANO 2010 REVISTA MEXICANA DE ESTUDIOS CANADIENSES NUM 19. PRIMAVERA-VERANO 2010 131 ARARAT, DE ATOM EGOYAN ARARAT, DE ATOM EGOYAN mundo sin olvidar las raíces de público aunque no deja de ser, utilizó para financiar Ararat), caba en Estambúl. La población su pasado, y que se desenvuelve al igual que Adoration (2008), así como acerca de la validez al turca comenzaba a referirse a la en complicados núcleos familia- uno de esos mosaicos que tanto utilizar una estructura argumen- película de Egoyan como una res, que son representados con agradan a este director. tal tan compleja en lugar de un segunda Midnight Express, y un estilo esquivo y fraccionario. tratamiento narrativo sencillo, el repetía las acusaciones de que el Importancia del fil- cual permitiera dar cuenta de lo proyecto había sido financiado Películas como Next of Kin me en la discusión que “realmente sucedió”. Desde por grupos de presión armenios. (1984), Family Viewing (1987) sobre el espacio esta perspectiva extratextual, el Egoyan (2004: p. 898). y Ararat (2002) exploran un tó- espacio y su representación se re- pico recurrente en su obra fílmi- Ararat es una cinta relevante velan como un territorio políti- Tras el estreno de Ararat en ca, el de la búsqueda identitaria dentro de la filmografía de Atom co e ideológico, al tiempo que se Cannes el 20 de Mayo de 2002, etnocultural y la acción del video Egoyan por razones distintas. presenta al cine como un medio buena parte de la crítica señaló como medio terapéutico. Por su Una de las más evidentes consis- capaz de transmitir realidades y el filme como un fracaso. Desde parte Speaking parts (1989) se te en que ésta es, quizá, la obra experiencias históricas. esta perspectiva, la obra tenía la centra más en las relaciones fa- en la cual el director aborda con responsabilidad de aclarar las miliares de un entorno opresi- mayor frontalidad el tema del El 8 de Diciembre de 2001 cosas (en términos dicotómicos) vo que se desenvuelve gracias a Genocidio armenio. Asimismo, (cuando el filme aún se encon- acerca de los hechos acontecidos la tecnología audiovisual. Con la película continúa la tradición traba en post-producción), la pá- en el Genocidio armenio. Los The Adjuster (1991) y Exótica en el cine de Egoyan de repre- gina del periódico Turkey Daily reseñistas sintieron que el suceso (1994) se liga de manera extra- sentar identidades diaspóricas en News publicó un artículo sobre histórico merecía un tratamiento ña el vouyerismo, el deseo y el conflicto. Estas identidades son Ararat. En él, el vicedirector del más comprometido y honesto, y recuerdo, que son constantes abordadas formalmente siempre Centro de Relaciones Turquía- que las estrategias narrativas de también dentro de la retórica de manera evasiva a través de di- Armenia declaraba que un grupo las cuales Egoyan se valía com- egoyana. Calendar (1993), al versos recursos diegéticos. Parti- de presión armenio había sobor- plicaban de modo innecesario igual que Ararat, ahonda en la cularmente en Ararat, éstos son nado a Egoyan para que realizara la representación de la Historia. dificultad de encontrar las raíces una representación o imitación la película. Asimismo, afirma- En resumen, el tema se salía de étnicas desde un mundo nuevo, de la memoria. ba que la cinta no se basaba en las manos del director y la trama un mundo tecnológico y glo- fuente histórica alguna. Dos resultaba demasiado trabajada balizado. The Sweet Hereafter Esta complicada red simbólica semanas después, se formó una (pp. 899-900). (1997), por su parte, muestra y formal no ha sido bien recibi- campaña de protesta en contra un Egoyan que aparenta ser tra- da, tanto por individuos invo- de la distribuidora Miramax y de A pesar de no ser la cinta catár- dicional, pero que en realidad lucrados emocionalmente en el su compañía madre Disney. Las tica y reivindicadora que el gran enmascara una gran complejidad espacio del Genocidio (turcos y quejas tomaron forma de cartas público esperaba, Ararat no tuvo discursiva; además demuestra armenios), como por personas a en donde se instaba a la empresa mejor suerte en territorio turco. grandes dotes artísticas, pues se quienes los eventos horríficos les a detener los planes para el estre- Todo comenzó bien: Sabahattin trata de una adaptación de una fueron presentados por primera no de Ararat, y se incluía la di- Ceti aceptó distribuir el filme novela de Russell Banks, que es vez a través de la película. Mucho rección y el teléfono personales en Turquía tras asistir a la pro- más bien introspectiva y subjeti- se ha especulado sobre la veraci- de Atom Egoyan. Un mes más yección en el Festival de Cine de va, poco apta para la adaptación. dad del punto de vista de Egoyan tarde, la primera plana del diario Berlín durante el 2003. El pro- Felicia´s Journey (1999) es qui- (sobre sus inclinaciones políticas Le Monde relataba el creciente pio ministro de cultura del país, zá su obra más accesible al gran y la procedencia del dinero que descontento que el film provo- Erkan Mumcu, había aprobado 132 REVISTA MEXICANA DE ESTUDIOS CANADIENSES NUM 19. PRIMAVERA-VERANO 2010 REVISTA MEXICANA DE ESTUDIOS CANADIENSES NUM 19. PRIMAVERA-VERANO 2010 133 ARARAT, DE ATOM EGOYAN ARARAT, DE ATOM EGOYAN su proyección pública. La fecha Niveles diegéticos ran el relato cinematográfico en gran naturalidad. Conforman de estreno en los cines de Estam- en Ararat Ararat. una mixtura de líneas tempora- búl y Ankara estaba programa les y espaciales, de piezas azaro- para el 16 de Enero. Con todo, Formalmente Ararat es un relato A nuestro parecer la estructura sas y rebeldes que son forzadas a ésta fue cancelada debido a las cinematográfico realizado con de la película es una represen- encajar, a como dé lugar, por el amenazas violentas que un parti- base en una línea argumental tación de la memoria con sus espectador, en sus sitios corres- do nacionalista de ultra-derecha que se despedaza y se multiplica lagunas y su carencia de sintaxis pondientes para conformar el realizó en contra del gobierno, el formando al mismo tiempo una lógica donde un recuerdo desen- amasijo global del relato. distribuidor y los dueños de los unidad, mosaico de historias que cadena otro sin importar el or- cines. Aunado a esto, se inicio se engarzan y configuran un la- den cronológico; artificio que a La película comienza con una una campaña de pósters donde berinto rizomático de diversas nosotros como espectadores nos especie de prólogo. Vemos pri- se mostraban a los miembros dimensiones narrativas y tem- habla en un código de relato que mero que nada el botón que del partido gobernante como porales.
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