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Discurso Y Comunicación GRUPO TEMÁTICO 14 Discurso y Comunicación 2 El falso documental como supuesto tercer espacio: revisiones críticas a una aritmética cinematográfica Sergio José Aguilar Alcalá 7 La potencia narrativa de los fotolibros Marina Feldhues 13 Estudiar la ideología desde el discurso: Los complejos ideológicos de la Reforma Energética de 2013 en México Axel Velázquez Yáñez 19 La construcción del ethos discursivo del científico en los blogs de divulgación científica brasileños Natália Martins Flores & Isaltina Maria de Azevedo Mello Gomes 26 Jóvenes en Argentina: vulnerabilidad simbólica y mediática Fabiana Martínez 32 “Malvinas entre el reclamo y el olvido: disputas discursivas a 30 años de la guerra” Claudia Guadalupe Grzincich & María Ercilia Alaniz 37 Os personagens de HQs e o consumo de tatuagens Matheus Eurico Noronha & Daniela Cunha Fernandes Miranda 43 El narcotráfico como fenómeno social recreado en el discurso de la prensa en México Édgar Ávila González & Gabriela Sánchez Medina 52 ¿Persona non grata? Las representaciones de Michel Temer en Carta Capital André Mendes & Jonaina Barcelos 59 “El pueblo necesita colaborar”: Un análisis lexicográfico de los discursos de posesión de Michel Temer en 2016 Franco Iacomini Junior & Torcis Prado Junior & Moisés Cardoso 67 Netflix: del procesamiento de la información a la reinterpretación de la cultura Eliseo Colón Zayas 73 3 Discurso hegemónico y contradiscurso: análisis crítico del discurso mediático sobre el conflicto amazónico el “Baguazo”. Franklin Guzmán Zamora 78 Criatividade, poder e inspiração: TED talks e sua retórica desterritorializada Carolina Cavalcanti Falcão 85 Discurso y Comunicación en la historia de la música romántica mexicana Tanius Karam Cárdenas 90 Imágenes de la nación y nuevo populismo político-mediático entre Brasil y Perú: una mirada semiótico-discursiva Paolo Demuru & Elder Cuevas-Calderón 95 Géneros, tradiciones discursivas y tecnologías. Características lingüísticas de la comunicación interpersonal a través de whatsapp Virginia Bertolotti 104 Reflexões semióticas sobre a imagem do juiz Sergio Moro na imprensa internacional Anita Gonçalves Hoffmann 110 Comunicação e(é) alteridade: a produção de sentidos como relação dialética Laan Mendes de Barros 120 Discursos de desarrollo y vivir bien en la construcción del estado plurinacional de Bolivia Luis Camilo Kunstek Salinas 126 As “mulheres reais” na pauta: uma análise do discurso da campanha publicitária #SouDonnademim da revista Donna Caroline Roveda Pilger 136 Conceptos sobre el tiempo fotográfico: Matrices culturales y Cronotopos Jacob Bañuelos Capistrán 152 Dos Excessos Contemporaneos: Os Discursos de si sobre o Uso Problemático de Drogas, em Blogs Pessoais Luana Luciana Ribeiro de Alencar & Antonione Alvez Grassano 161 4 A construção social da violência na Amazônia Paraense: relações discursivas do jornal Correio do Tocantins Thaís Luciana Corrêa Braga & Alda Cristina Costa & Nathan Nguangu Kabuenge 168 Interesse público e discursos: a visibilidade de fontes oficiais em matérias sobre o Enem nos jornais impressos de Teresina (Pi) Cintia Lucas Freitas de Lima & Paulo Fernando de Carvalho Lopes 174 Os conflitos entre ocidente e oriente na vinheta institucional "Intolerância" da Globo News: uma análise do cinetismo como formante da visualidade no audiovisual. Ana Silvia Lopes Davi Médola & Henrique da Silva Pereira 183 La construcción del sentido del tiempo en el relato del cómic. Caso Sin City Diana María Pérez Terrazas 196 Corpo, velhice e performance na série “Grace and Frankie” 204 Fabiola Orlando Calazans Machado & Vanessa Santos de Freitas Del texto y la imagen del discurso narrativo: perspectiva de una realidad desde la prensa digital en relación a un delito. Elsa Chávez Álvarez 210 Redes sociais do movimento Vem pra rua: uma análise crítica de um “movimento social” Leticia Beatriz Gambeta Abella 217 Adaptación literaria al cine: el derecho del lector y el derecho del texto en El coronel no tiene quien le escriba Consuelo Méndez Tamargo 226 Fatalismos coloniales y fatalismos geográficos: El huracán María como evento comunicativo (Puerto Rico 2017) Silvia Alvarez Curbelo 232 POSSE PRESIDENCIAL E DENÚNCIA DE CORRUPÇÃO NO BRASIL: Uma análise crítica do discurso de Michel Temer no Twitter Luana Luciana Ribeiro de Alencar & Antonione Alvez Grassano 237 Procedimiento metodológico para la inferencia de encuadres en el discurso audiovisual. Una propuesta Ruben González Macías & Martín Echeverría & Celeste Rodriguez 245 5 La evolución discursiva y sociohistórica del corrido y el narcocorrido Ana Leticia Hernández Julián 252 Consideraciones epistemológicas sobre un lugar común del discurso teórico del cine documental: el omnipresente ‘personaje’ Fernando Andacht 259 “Relatos propios” y subjetividades contemporáneas cucapá en el delta del río Colorado 264 Alejandra Navarro Smith Estudiar la ideología desde el discurso: Los complejos ideológicos de la Reforma Energética de 2013 en México Diana María Pérez Terrazas 270 6 Ponencia presentada a: GT 14 Discurso y Comunicación El falso documental como supuesto tercer espacio: revisiones críticas a una aritmética cinematográfica Fake documentary as an assumed third space: critical reviews on a cinematic arithmetic O documentário falso como suposto terceiro espaço: resenhas críticas de uma aritmética cinematográfica Sergio José Aguilar Alcalá 1 Resumen: A pesar de su prolongada existencia, los falsos documentales no empezaron a ser un objeto recurrente en la teoría y análisis de cine hasta inicios de este siglo. Desde entonces, una buena parte de los estudiosos considera que el falso documental es un tercer espacio que habita entre la ficción y la no ficción, y que se crea a partir de una suma de elementos de ambos campos. Este trabajo expone porqué estas propuestas quedan cortas en dar cuenta de la complejidad del fenómeno, y propone retomar el concepto de “punto de vista” de los estudios de cine para entender, de modo más integral, la capacidad de agencia de la forma cinematográfica para crear una experiencia de verdad ficcional. Palabras Clave: falso documental, no ficción, punto de vista. El falso documental como supuesto tercer espacio: revisiones críticas a una aritmética cinematográfica Los anglosajones usan el término mockumentary. En español se les ha llamado “pseudo-documentales” y “cuasi documentales”, pero el término más común es “falso documental”, y es el que se usará en este texto. Sea cual sea la semántica, el estudio de los falsos documentales ocupa un lugar preciso en el estudio del cine documental, que a su vez ocupa un lugar privilegiado en las discusiones sobre la representación y construcción de la verdad. En la Encyclopedia of the Documentary Film (2006:908), Jane Roscoe da una definición concreta de lo que entiende por mockumentary: “fictional texts that, to varying degrees, represent a commentary on, or a confusion or subversion of, factual discourse. Mock-documentaries are films and television programmes that look and sound like documentaries, but are not factual”.2 Y más adelante, señala la autora la importancia de que los espectadores deban entender las bromas y reconocer las películas como ficticias. Esta definición es el espíritu que resume las directrices sobre las que se han movido muchas investigaciones sobre el tema. Este trabajo pretende exponer razones por las que esta definición no da cuenta de la complejidad del problema, al asentarse sobre una especie de “aritmética cinematográfica” y confianza ciega en una supuesta capacidad del espectador. Para solventar esto, se ofrece retomar el concepto de “punto de vista” desde los estudios de cine, y cómo la capacidad de agencia de la cámara supone una capacidad de agencia en el espectador también. 1 Maestrante en Comunicación, Posgrado en Ciencias Políticas y Sociales, Universidad Nacional Autónoma de México, México. E-mail: [email protected] 2 Traducción: textos ficcionales que, en distintos grados, representan un comentario sobre, o una confusión o subversión de, discurso factual. Los mock-documentaries son películas y programas de televisión que se ven y escuchan como documentales, pero que no son factuales. 7 La subversión de la factualidad Contrario a su prolongada existencia -podría establecerse, con seguridad, que al menos datan de 19573-, el estudio de los falsos documentales no entró de lleno al terreno de los estudios académicos del cine hasta la publicación del libro de Daniel Craig y Jane Roscoe (2001), que es tomado como el canon a partir del que se construye la crítica y comprensión del fenómeno. Al delimitar el objeto de estudio de su libro, Roscoe y Hight dicen que excluyeron aquellas noticias engañosas que se hacen con el propósito de hacer creer a la audiencia una cosa que se sabe no es cierta, un engaño cuyo objetivo es nunca ser descubierto. Esta decisión metodológica revela una posición ideológica respecto a la construcción de la verdad en el discurso audiovisual. Es así como enuncian, implícitamente, una de las primeras características del falso documental: un discurso falso que pretende ser visto como como falso. Para los autores, los falsos documentales son películas que aprovechan nuestra habilidad para reconocer códigos y convenciones del documental para ofrecer un comentario crítico. El primer punto interesante (2001:50) es que los falsos documentales pueden ser una forma genérica pero también un gradiente de reflexión, es decir, no sólo hay películas falsos documentales sino que hay películas con diferente nivel de falsodocumentalidad. Por otro
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