Experiencia perceptiva y falsos planos subjetivos en El eclipse (Michelangelo Antonioni, 1962) y Muerte en Venecia (Luchino Visconti, 1971)
Resumen Los planos subjetivos son un recurso poderoso cuando aparecen en su estructura canónica, pero también presentan un gran potencial estético cuando esta se altera para romper las expectativas del espectador. Por ejemplo, en los casos de “falso plano subjetivo” en los que el espectador se enfrenta a la necesidad de reevaluar la condición subjetiva del plano que observa al aparecer en el mismo el personaje con el que creía estar compartiendo la mirada. Todos los falsos planos subjetivos producen experiencias que comparten ciertas cualidades fenomenológicas por el modo en que actúan sobre las expectativas y la percepción del espectador. Este artículo reflexiona en torno a cuatro de estos efectos, describiendo su alcance general y profundizando en sus posibilidades expresivas a partir del análisis de sendas escenas de El eclipse (Michelangelo Antonioni, 1962) y Muerte en Venecia (Luchino Visconti, 1971).
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- Métricas
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Currie, G. (2011). The Representation of Experience in Cinema. En D. Chateau (ed.), Subjectivity. Filmic Representation and the Spectator’s Experience (pp. 41-52). Amsterdam: Amsterdam University Press.
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Deleuze, G. (1984). La imagen-movimiento. Estudios sobre cine 1. Barcelona: Paidós.
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Gallese, V., Guerra, M. (2020). The Empathic Screen: Cinema and Neuroscience. Oxford: Oxford University Press.
Morgan, D. (2016). Where are we. Camera movements and the problem of point of view. New Review of Film and Television Studies (14) 2, 222?248.
Restivo, A. (2002). The Cinema of Economic Miracles: Visuality and Modernization in the Italian Art Film. Durham: Duke University Press.
Rohdie, S. (1990). Antonioni. London: BFI Publishing.
Sobchack, V. (1992). The Address of the Eye: A Phenomenology of Film Experience. Princeton: Princeton University Press.
Willemen, P. (1974). The Fugitive Subject. En P. Hardy (ed.), Raoul Walsh (pp. 86-93). Edimburgo: Edinburgh Film Festival.
Wilson, M.?(1998). Art is ambiguous: The zoom in Death in Venice. Literature/Film Quarterly, (26) 2, 153-156.
Bloom, M. (2010). Fragile Images and Concrete Things. Indirect Subjectivity and the Externalization of The Soul in Michelangelo Antonioni's Tetralogy. Off Screen (14) 4. Disponible en: https://offscreen.com/view/fragile_images
Bordwell, D. (1981). The Films of Carl Theodor Dreyer. Berkeley: University of California Press.
Bordwell, D., Thompson, K. (1995). El arte cinematográfico. Barcelona: Paidós.
Branigan, E. (1984). Point of View in the Cinema: A Theory of Narration and Subjectivity in Classical Film. Berlin, Nueva York, Amsterdam: Mouton Publishers.
Burch, N. (1984). Praxis del Cine. Madrid: Editorial Fundamentos.
Brunette, P. (1998). The Films of Michelangelo Antonioni. Nueva York: Cambridge University Press.
Burrows, S. (2000). Desire Projected Itself Visually: Watching Death in Venice. En D. Cartmell, I.Q. Hunter, H. Kaye e I. Whelehan (eds.), Classics in Film and Fiction (pp. 137-156). London: Pluto.
Currie, G. (2011). The Representation of Experience in Cinema. En D. Chateau (ed.), Subjectivity. Filmic Representation and the Spectator’s Experience (pp. 41-52). Amsterdam: Amsterdam University Press.
Dagrada, E. (2015). Between the Eye and the World: The Emergence of the Point-of-View Shot. Bruselas: P.I.E. Peter Lang.
Deleuze, G. (1984). La imagen-movimiento. Estudios sobre cine 1. Barcelona: Paidós.
Ford, H. (2015). Hard Clarity, Vaporous Ambiguity: The Fusion of Realism and Modernism in Anto-nioni’s early 1960s Films. Senses of Cinema, 74. Disponible en: http://sensesofcinema.com/2015/feature-articles/hard-clarity-vaporous-ambiguity-the-fusion-of-realism-and-modernism-in-antonionis-early-1960s-films-1/
Gallese, V., Guerra, M. (2020). The Empathic Screen: Cinema and Neuroscience. Oxford: Oxford University Press.
Morgan, D. (2016). Where are we. Camera movements and the problem of point of view. New Review of Film and Television Studies (14) 2, 222?248.
Restivo, A. (2002). The Cinema of Economic Miracles: Visuality and Modernization in the Italian Art Film. Durham: Duke University Press.
Rohdie, S. (1990). Antonioni. London: BFI Publishing.
Sobchack, V. (1992). The Address of the Eye: A Phenomenology of Film Experience. Princeton: Princeton University Press.
Willemen, P. (1974). The Fugitive Subject. En P. Hardy (ed.), Raoul Walsh (pp. 86-93). Edimburgo: Edinburgh Film Festival.
Wilson, M.?(1998). Art is ambiguous: The zoom in Death in Venice. Literature/Film Quarterly, (26) 2, 153-156.
Aertsen, V. (2020). Experiencia perceptiva y falsos planos subjetivos en El eclipse (Michelangelo Antonioni, 1962) y Muerte en Venecia (Luchino Visconti, 1971). Fonseca, Journal of Communication, (21), 15. https://doi.org/10.14201/fjc202021237251
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