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Semiología De Los Efectos Especiales

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UNIVERSIDAD NACIONAL AUTÓNOMA DE MÉXICO FACULTAD DE ESTUDIOS SUPERIORES ARAGÓN “LOS EFECTOS ESPECIALES COMO FENÓMENO CINEMATOGRÁFICO EN EL GÉNERO DE CIENCIA FICCIÓN HOLLYWOODENSE: ANÁLISIS DE LA PELÍCULA STAR WARS DE GEORGE LUCAS” PARA OBTENER EL TITULO DE LICENCIADA EN PERIODISMO Y COMUNICACIÓN COLECTIVA PRESENTA: MARÍA GUADALUPE GARCÍA DÁVILA ASESORA: LIC. JUAN ARELLANO ALONSO MÉXICO 2007 A MIS PADRES: Rosa Dávila González y Fidel García González. Este trabajo está dedicado a esos seres que se dieron el lujo de regalarme lo más hermoso que es la vida. Además de sembrar en mí el espíritu de superación constante y de mostrarme que de la vida siempre se puede tomar lo que uno quiere, a ellos mis amados padres mi admiración y respeto. A MIS HERMANOS: Este trabajo también está dedicado a la herencia más grande que pudieron darme mis padres, a cada una de mis hermanas y hermanos: Virginia, Lucía, Concepción, Jorge, Ignacio, José, Leonardo, Ramsés y Yoshúa; por supuesto a mis pequeños sobrinos: Ana Rosa y Leo. Quienes han dado a mi vida motivos que me han hecho crecer como ser humano y profesionista; todo lo que pudiera escribir es poco comparado con lo generosos que han sido conmigo. A JUAN ARELLANO ALONSO Agradezco su apoyado para la conclusión de mi trabajo a lo largo de este camino, gracias por ser mi asesor y amigo. Agradezco a cada una de las personas que me han apoyado en mi formación académica y desarrollo profesional. 2 INDÍCE Pág. Dedicatorias y agradecimientos………………………………………... 2 Introducción………………………………………………………………. 6 CAPÍTULO 1 La Ciencia Ficción como Género Cinematográfico 1.1 cine…………………………………………………………………….................... 10 1.2 ciencia……………………………………………………………………………… 10 1.3 Binomio cine/ciencia……………………………………………………………… 11 1.4 Género………………………………………………………………………........... 14 1.5 Géneros Cinematográficos …………………………………………………...… 15 1.5.1 Farsa……………………………………………………………………………... 17 1.5.2 Humor negro…………………………………………………………………..… 17 1.5.3 Cuento maravilloso ………………………………………………………….…. 18 1.5.4 Fantasía (Ciencia Ficción)………………………………………………….….. 18 CAPÍTULO 2 Efectos especiales en la Industria Cinematográfica 2.1 Antecedentes históricos.….……………….………..….……………………….. 20 2.2 Precursores de los Efectos Especiales……………………………………..… 41 3 2.3 Los Efectos Especiales en el género Cinematográfico de Ciencia Ficción ………………………………………………………………………………………...… 47 CAPÍTULO 3 Semiología de los Efectos Especiales 3.1 Fantasía e ilusión en los Efectos Especiales………………………………..… 54 3.2 Lenguaje de los Efectos Especiales…………………..………………………. 58 CAPÍTULO 4 Efectos Especiales en el género cinematográfico de ciencia ficción en la industria Hollywoodense 4.1 Estética y clasificación de los Efectos Especiales……………………….…… 76 4.2 Los efectos por computadora captura del movimiento…...………………….. 82 4.3 Efectos especiales en realizaciones Cinematográficas representativas del género de Ciencia Ficción en la historia del cine……………………………..…. 88 CAPÍTULO 5 El filme La Guerra de las Galaxias como representación del género Cinematográfico de la Ciencia Ficción Hollywoodense 5.1 Comentario cinematográfico……………………………………………..……. 131 5.2 George Lucas…………………………………………………………………..... 136 5.3 Sinopsis ………………………………………………………………………..… 143 4 5.4 Efectos Visuales………………………………………………………………… 144 5.5 De títeres a píxeles……………………………………………………….…….. 145 5.6 De los sets a la imagen virtual…………………………………………..……. 148 5.7 La revolución digital ……………………………………………………..……. 150 Conclusiones ………………………………………………………………..…….… 154 Bibliografía …………………………………………………………………………... 157 Hemerografía …………………………………………………………………….….. 159 Filmografía …………………………………………………………………….……... 161 5 Introducción El trabajo presenta un estudio descriptivo en el desarrollo de los efectos especiales en el cine de ciencia ficción estadounidense en la década de los noventa y principios del siglo XXl, partimos desde el inicio de los efectos especiales en cine, su evolución a través de la historia del mismo, así como de las personas que han plasmado su fantasía e imaginación. Es remontarnos al celuloide como una forma de expresar las primeras manifestaciones de movimiento, mediante las cuales el hombre dio origen al Séptimo Arte; el advertir que la fotografía fija necesitaba ser vista como parte de la realidad y no sólo como un retrato de ella. Era el mostrarnos, la realidad captada mediante imágenes, pero con la ilusión de movimiento. Referir nuestra investigación al cine hollywoodense no significa la admiración hacia la industria estadounidense por lo que guardan en sí cada una de sus producciones. La inquietud radica a partir de la necesidad de saber qué existe más allá de la pantalla grande una vez que se exhibe al público. Es adentrarnos en los procesos de producción y realización existentes en un filme. Así como conocer cómo nace y se desarrolla una idea para dar vida a una película; los antecedentes históricos de una industria naciente en Europa que ha logrado consolidarse en América, específicamente en los Estados Unidos; de cada uno de los elementos de los que se ha servido para impactar a un público ávido de nuevas experiencias visuales a nivel cinematográfico. Hablar del cine hollywoodense no es inclinar nuestra mirada hacia éste como la única opción existente del cine de ciencia ficción, puesto que hay más alternativas dentro de una diversidad cinematográfica. Sin embargo, nuestro trabajo está encaminado hacia la espectacularidad de la que se echa mano por parte de los realizadores estadounidenses; saber que muchas veces el objetivo es producir un cine cien por ciento comercial y queda atrás la existencia de un buen guión o argumento. Es también ver la producción de los efectos especiales en el cine de ciencia ficción estadounidense como la espectacularidad, lo fantástico 6 y lo que mueva al público a ver al Séptimo Arte de este país sólo como entretenimiento y no más. Además es una forma de mostrar parte de la ideología de los Estados Unidos, el sometimiento existente a nivel mundial con cada uno de los elementos de los cuales se vale, para demostrar de alguna forma su supremacía. La industria hollywoodense es ante el mundo la industria donde todo es posible y más si son los estadounidenses quienes dan y quitan a la humanidad la posibilidad de valerse por sí solos, sobre todo de ser dos contra el universo y salir triunfantes siempre ellos. Es saber que no todo el cine de ciencia ficción producido en los Estados Unidos es realmente recomendable y aporta algo a la industria cinematográfica y sobre todo al espectador. La importancia de nuestra investigación radica en poder mostrar la existencia de una industria que tiene gran influencia en el cine mexicano, por la cercanía existente con México. Además de poder ser consultado por gente estudiante de cine, el público que gusta del cine de ciencia ficción hollywoodense e interesada en un arte que ha trascendido más allá de las fronteras que pudieran existir. En nuestro primer capítulo hablaremos del cine como género cinematográfico, para esto es necesario definirlo. Además de hablar de la ciencia y la relación existente entre uno y otra. El surgimiento del uno y la otra como complemento. Asimismo, nos referiremos al género como tal dentro del cine, de la clasificación existente dentro de éste, y de la cual retomaremos sólo algunos de los géneros cinematográficos que consideramos de suma importancia como parte de nuestro objeto de estudio, como son: la farsa, el cuento maravilloso, el humor negro, fantasía (ciencia ficción) y su interrelación unos con otros para ser parte de la ciencia ficción. De ahí, partiremos para hacer una breve revisión y describir como nacen los efectos especiales, la razón de su existir dentro de la industria cinematográfica hollywoodense, en sí lo que ha sido su historia dentro del cine. La presencia de los efectos especiales como un toque de magia y fantasía dentro del género de ciencia ficción y, claro está hablar también de los hombres que en su tarea constante por ver realizadas sus expectativas en este arte, se dieron a la tarea constante de investigar e indagar hasta llegar a puntos que dieron 7 pauta a otros para continuar y dar a la pantalla grande esa majestuosidad para la que fue creado. Además es importante destacar el uso de los efectos especiales en el género de ciencia ficción, tan significativo para la cinematografía estadounidense, que ha logrado tener con ello éxito y también avances tecnológicos capaces de mover el sentimiento y curiosidad de los espectadores, todo esto a través de los creadores de la magia del cine, dando con esto a la pantalla grande cada vez más lo sofisticado y lo fascinante de los mundos inimaginables e irreales. En el tercer capítulo de nuestra investigación hablaremos de la semiología, ciencia que nos ha dado una parte importante para poder analizar con los elementos cinematográficos necesarios, cada uno de los componentes de un filme. Hablar de semiología es referirnos, en parte a la necesidad de ver una nueva perspectiva surgida de una necesidad de apreciación cinematográfica; de saber que existe detrás de un guión, de un encuadre, de un punto de fuga, del vestuario, de los efectos especiales que son también parte de su lenguaje, de la iluminación; veremos el porqué de la ciencia del lenguaje comunicativo como parte fundamental del estudio de las imágenes, mismo que más tarde se vio favorecido por investigaciones realizadas por: Jean Mitry y Christian Metz, estos amantes del cine que lograron ir más allá de lo que pueda decir una simple imagen. Ambos marcaron la evolución y el desarrollo de las estructuras de
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    EXCLUSIVE LUCAS INTERVIEW K49112 S3.50 NUMBER 48 JULY George Lucas ace W Altered nee States Space Art: {Vincent DiFate More Pages! More color! -a ^ 5th Metal" "s#^s; Movie - '- Anniversary Contest! >: - 100 WINNERS ¥s* TV Movies sfx interviews Special Previews Space Science ~~i m m Space Art index to starloc -. Celebrity Greetings Rogers JVM \^\ v\ --•' *; outi A 3 96 49112 1 MORE! YOU MUST SUBSCRIBE! Because now thafs the only way you can journey into tomorrow. That's not just a startling headline— it's the truth. FUTURE LIFE is no longer available on newsstands. Starting with issue #24 (published in December) the original magazine of tomorrow is sold by subscrip- tion only. FUTURE LIFE is still available at Waldenbooks and all the science fiction and special book stores where you have found it for the past three years. But no more newsstands! Take a minute, and think about ^3P"f . what FUTURE LIFE is. FUTURE LIFE is a young, energetic staff of researchers and FUTURE LIFE writers filled — with excitement, is science fic- loaded with wit, and brimming tion authors with curiosity. Each issue they and book re- create a colorful crystal ball that views, incredi- shows you the world of the ble art port- folios, music and media future — a better, more positive trends. It's interviews and world than today. articles by the greatest minds of our planet (including Harlan Ellison's regular column) with words of warn- FUTURE LIFE is beautifully illustrated science ing about our articles like "Leapin' Lasers," "Real Starships," present and "Urbanizing the Oceans," "Immortality Now!" words of inspi- "Guide for Space Colonists," "Homegrown ration about Robots," "Space-Age Games," and the ultimate the wonders medical triumph, "Designer Genes." The facts are so of tomorrow.

  • 007 Issue 44

    Odeon Leicester Square 1989 1 2 4 3 OPPOSITE PAGE: Graham Rye shows off the newly renovated Moon Buggy for a photo-session at Pinewood Studios in 1993. THIS PAGE: 1. Once again the Odeon Leicester Square hosts a new Bond film. 2. Graham Rye and Andrew Pilkington chat with Michael G. Wilson after the press show of Licence To Kill, as the Evening Standard’s film critic, the late Alexander Walker (left) exits the Odeon. 3. Much to the appreciation of 5 6 7 the fans, Cubby Broccoli signs autographs. 4. No one realised at the time that we wouldn’t see another James Bond film for another six years – and that Timothy Dalton would not be returning in the role. 5. Michael G. Wilson signs an autograph for a JBIFC member. 6. Do Bonds Have More Fun? As usual the promotional machine was in full swing for the latest Bond film and the majority of the glossy monthly magazines covered Licence To Kill.Tatler even promoted their Bond-related issue (an interview with Talisa Soto) on the giant Mills & Allen rotating advertising billboards. 7. Graham Rye signs copies of his book The James Bond Girls for members ADVENTURES of The JBIFC in the foyer of the Odeon Leicester Square. IN THE FAN TRADE For 25 years “Ah, the real James Bond!” The James Bond International Fan Club and ‘OO7’ MAGAZINE have consistently ate and happenstance sent a copy of my James Bond the matinee performance of copies to recoup all my production often conspire to shape a Girls book to him at Casa Bertrand Tavernier’s These costs and then some.