Buñuel en México: notas acerca de la representación de la pobreza en las cintas El gran calavera, Los olvidados, El Bruto y Nazarín

IF 0.3 0 PHILOSOPHY Aisthesis-Pratiche Linguaggi e Saperi dell Estetico Pub Date : 2017-07-12 DOI:10.7764/AISTH.61.4

J. Escobar

引用次数: 1

Abstract

El objetivo de este texto es explorar y discutir acerca del modo en que, tanto el cine industrial como el cine de autor realizado por Luis Bunuel en Mexico, nos introduce en la fabricacion de nuevas representaciones filmicas de la pobreza. Para ello se analizaran las cintas El gran calavera (1949), Los olvidados (1950), El Bruto (1952 y Nazarin (1959). Se sostiene que, por una parte, estas cintas dejan entrever una diversidad de formas de inscripcion de la pobreza que vienen a tensionar la hegemonia representacional impuesta por la epoca de oro del cine mexicano, y por la otra, tienen en comun el ideal del deseo como mecanismo para las acciones de sus protagonistas.

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bunuel在墨西哥:关于《大卡拉维拉》、《被遗忘的人》、《布鲁图》和《拿撒勒》中贫穷表现的注释

本文的目的是探讨和讨论墨西哥工业电影和路易斯·布鲁埃尔导演的作家电影是如何将我们引入贫困的新电影表现形式的。为此，我们分析了电影《大卡拉维拉》(1949)、《被遗忘的人》(1950)、《布鲁图》(1952)和《纳扎林》(1959)。认为,一方面,他们让这些磁带瞥见各种形式inscripcion贫穷来画出hegemonia具象对墨西哥电影的黄金时间,另一方面有共同之处的理想愿望作为主要的行动者的行动机制。

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来源期刊

Aisthesis-Pratiche Linguaggi e Saperi dell Estetico PHILOSOPHY-

CiteScore

0.30

自引率

0.00%

发文量

审稿时长

40 weeks

期刊介绍： The choice of the name of the journal represents a farewell from the identification of aesthetics with hermeneutics and speculative philosophy of art. It also shows our strong commitment to the irreducibility of aesthetics to a mere psychological fact. The subtitle of the journal “practices, languages and knowledge concerning aesthetics” indicates the present, fertile pluralism of aesthetics. This is a pluralism of views and methods, often connected with the different ways in which contemporary arts and aesthetic abilities present and structure themselves. Also, it is a pluralism of thoughts and formulas, which induces to relativize the western tradition within which the discipline of aesthetics was born. Finally, it is a pluralism of epistemic landscapes, which also trespasses into the sphere of sensibility and art. These various, epistemic landscapes have recently experienced a revolutionary enlargement through the rise of some new or radically renewed disciplines (from neurosciences to anthropology, from cognitive sciences to psychobiology). Indeed, we conceive Aisthesis as a public space where those different approaches and disciplines can interact.