Sonoridad, suspenso y fantasmagoría en el cine de Cristián Sánchez
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Fecha
2018-12
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Profesor/a Guía
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Idioma
es
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Universidad Andrés Bello
Nombre de Curso
Licencia CC
Licencia CC
Resumen
El presente artículo tiene como objetivo estudiar la obra
cinematográfica de Cristián Sánchez durante la dictadura militar
chilena (1975-1990), aproximándonos al tema del espectro y de
los fantasmas desde tres lugares: primero, a partir de la dicotomía
establecida entre dentro y fuera del campo, pensando en los
mecanismos de producción de suspenso que utiliza el cineasta
con el fin de inundar la imagen con extrañeza e indeterminación; segundo, nos centraremos en las huellas del dispositivo desde la
observación de la materialidad propia de la imagen cinematográfica,
que se hace perceptible a partir de la inserción de veladuras y
ruidos en la imagen; y, tercero, inspeccionaremos las figuras
que rondan el plano, presentados como fantasmas reales, que
transitan espectralmente por las historias.
This article has as its objective to navigate the films made by Cristián Sanchez during the chilean military dictatorship (1975- 1990), as an approximation to the topic of the spectre from three directions. In the first place, from the dichotomy between inside and outside (of the visual field), thinking about the suspension producing mechanisms used by the filmmaker to flood the image with strangeness and indetermination. In the second place, we will focus on the traces left by the device, through the observation of the cinematographic image’s own materiality, which is perceived through the insertion of glazings and noise into the image. Finally, we will inspect the figures that surround the sequence, presented as ‘real’ ghosts, that cross the stories phantasmagorically.
This article has as its objective to navigate the films made by Cristián Sanchez during the chilean military dictatorship (1975- 1990), as an approximation to the topic of the spectre from three directions. In the first place, from the dichotomy between inside and outside (of the visual field), thinking about the suspension producing mechanisms used by the filmmaker to flood the image with strangeness and indetermination. In the second place, we will focus on the traces left by the device, through the observation of the cinematographic image’s own materiality, which is perceived through the insertion of glazings and noise into the image. Finally, we will inspect the figures that surround the sequence, presented as ‘real’ ghosts, that cross the stories phantasmagorically.
Notas
Indexación: Revista UNAB.
Palabras clave
Cine chileno, Dictadura militar, Espectros, Diseño sonoro, Fuera de campo
Citación
Revista de Humanidades Nº38 (JULIO-DICIEMBRE 2018): 133-159