Desde la coexistencia de modelos de representación, hasta la cristalización de un nuevo modelo: la ventana indiscreta

Abstract

Noël Burch stablished the basis for the systematization of the different models of cinematographic representation. The essential focus of his arguments, which were exposed in The skylight of infinity, is that the different models of representation are distinguished by the position of the viewer on the narration. Taking in account this starting point, Burch identifies two models: the Primitive Model of Representation (PMR), governed by a frontal glance which is out of the narrative world, and the Institutional Model of Representation (IMR) characterized by the ubiquity of a glance which is interior to that world. Starting by this methological consideration of study, this article traces the coexistence of both models in Alfred Hitchcock's Rear Window; specifically how they cohabited and how they both were articulated in the filmic text. So as the crystallization of a third model characterized by an independent glance which is connected to the camera.