El cine más allá del signo: revisitando el concepto de indexicalidad en la teoría de André Bazin
| Autor: | Lourdes Esqueda Verano |
|---|---|
| Jazyk: | Spanish; Castilian |
| Rok vydání: | 2019 |
| Předmět: |
Imagen fotográfica
Linguistics and Language Materiality (auditing) Literature and Literary Theory Realismo business.industry Indexicality Communication Philosophy Comunicación::Comunicación audiovisual [Materias Investigacion] Film theory Realism André Bazin Indexicalidad Language and Linguistics Movie theater Photographic image Semiotics business Humanities Teoría del cine |
| Zdroj: | Dadun. Depósito Académico Digital de la Universidad de Navarra instname |
| Popis: | espanolLas recientes transformaciones tecnologicas del cine han reavivado el debate sobre las propiedades de la imagen fotografica, consolidando la teoria cinematografica de Andre Bazin como lectura obligatoria. En especial, cabe destacar su texto sobre “La ontologia de la imagen fotografica”, donde Bazin establece una relacion entre la materialidad del cine y su tendencia estetica hacia el realismo. Este articulo ofrece una clarificacion terminologica sobre uno de los conceptos mas fundamentales de este texto —la huella de luz— que suele identificarse con la nocion de signo indexical propuesta por C. S. Peirce, propiciando consideraciones semioticas en una teoria del cine completamente ajena a la misma.The recent technological transformations of cinema have brought back the debate on the properties of the photographic image, calling attention once again to Andre Bazin’s film theory, especially his key work “The Ontology of the Photographic Image.” In this text, Bazin establishes a correlation between the materiality of the cinema and its aesthetic tendency towards realism. This article offers a terminological clarification on one of the most fundamental concepts of his theory — the trace—, which is frequently identified with C.S. Peirce’s indexicality, prompting semiotic readings of a pre-semiotic film theory. EnglishThe recent technological transformations of cinema have brought back the debate on the properties of the photographic image, calling attention once again to Andre Bazin’s film theory, especially his key work “The Ontology of the Photographic Image.” In this text, Bazin establishes a correlation between the materiality of the cinema and its aesthetic tendency towards realism. This article offers a terminological clarification on one of the most fundamental concepts of his theory — the trace—, which is frequently identified with C.S. Peirce’s indexicality, prompting semiotic readings of a pre-semiotic film theory. |
| Databáze: | OpenAIRE |
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