Análisis textual del rostro de Anne (Emmanuelle Riva) en Amor (Amour, Michael Haneke, 2012) a partir de la función de la Imago Primordial

IF 0.2 0 ART
José Manuel López-Agulló Pérez-Caballero
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引用次数: 0

Abstract

In this chapter we will analyze the film Amour (Michael Haneke, 2012). We have chosen the scene —third sequence of the film— in which the main character Anne stares at a void in catatonic state of mind while her husband Georges tries to recover her consciousness without any success. We will use the Theory of the Text and our conceptual framework will be the study of the real as it has been elaborated by Jesus Gonzalez Requena within the psychoanalytic field. More specifically, we will focus on his theorization based on the role of the Primordial Imago in the emergence of consciousness through shot reverse shot technique. We then propose as an exploratory hypothesis the existence of a footprint of the real that challenges the communicative exchange of this filmic technique.
在本章中,我们将分析电影《爱》(Michael Haneke, 2012)。我们选择了这个场景——电影的第三个镜头——在这个场景中,主人公安妮在精神紧张的状态下凝视着一片空白,而她的丈夫乔治试图恢复她的意识,但没有成功。我们将使用文本理论,我们的概念框架将是对现实的研究,正如Jesus Gonzalez Requena在精神分析领域所阐述的那样。更具体地说,我们将集中在他的理论基础上的作用的原始意象在意识的出现,通过镜头反镜头技术。然后,我们提出了一个探索性假设,即现实足迹的存在挑战了这种电影技术的交流。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
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来源期刊
CiteScore
0.40
自引率
0.00%
发文量
35
审稿时长
12 weeks
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