Dunkerque
The author interprets the discomfort and anger that she felt when she saw the chronicle of the operation Dynamo, Dunkirk, from the fright generated through the music, the insistent plans about the wounded and the dead. An insult to these dead heroes. This type of film can have a pedagogical characte...
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| Formato: | Artículo revista |
| Lenguaje: | Español |
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Centro de Investigaciones y Estudios sobre Cultura y Sociedad
2018
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| Acceso en línea: | https://revistas.unc.edu.ar/index.php/eticaycine/article/view/22757 |
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I10-R324-article-22757 |
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I10-R324-article-227572019-07-31T12:45:37Z Dunkerque Imagen virtual, imagen real Moscovitz, Françoise Espectáculo Guerra Representación Violencia Imagen Show War Representation Violence Image The author interprets the discomfort and anger that she felt when she saw the chronicle of the operation Dynamo, Dunkirk, from the fright generated through the music, the insistent plans about the wounded and the dead. An insult to these dead heroes. This type of film can have a pedagogical character, but it is more about enjoying an awful spectacle. The spectator witnesses a history of the past but leaves it in a passive position. The author also analyzes the degree of tolerance: there is acceptable violence and another that is not. It also distinguishes the productions that are directed to the destructive impulses of those that deal with releasing the spectator. In the case of this film, it is only about the inhumanity of blind destruction. Finally, he reflects on the relationship between cinema and art but also has a relationship with the production industry that seeks to dazzle and move viewers. La autora interpreta el malestar y el enojo que sintió al ver la crónica de la operación Dynamo, Dunkerque, a partir del espanto generado a través de la música, los planos insistentes sobre los heridos y los muertos. Un insulto a estos héroes muertos. Este tipo de películas puede tener un carácter pedagógico, pero se trata más bien de gozar de un espectáculo espantoso. El espectador es testigo de una historia del pasado, pero lo deja en una posición pasiva. La autora analiza también el grado de tolerancia: hay una violencia aceptable y otra que no lo es. Distingue también las producciones que se dirigen a las pulsiones destructivas de aquellas que se ocupan de liberar al espectador. En el caso de esta película, sólo se trata de la inhumanidad de la destrucción ciega. Finalmente, reflexiona sobre la relación del cine con el arte pero también tiene una relación con la industria de la producción que busca deslumbrar y conmover a los espectadores. Centro de Investigaciones y Estudios sobre Cultura y Sociedad 2018-07-02 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion application/pdf https://revistas.unc.edu.ar/index.php/eticaycine/article/view/22757 10.31056/2250.5415.v8.n2.22757 Ética y Cine Journal; Vol. 8 Núm. 2 (2018): Cine y Psicoanálisis: Memorias y luchas; 37-41 2250-5415 2250-5660 10.31056/2250.5415.v8.n2 spa https://revistas.unc.edu.ar/index.php/eticaycine/article/view/22757/23049 Derechos de autor 2018 Ética&Cine Journal |
| institution |
Universidad Nacional de Córdoba |
| institution_str |
I-10 |
| repository_str |
R-324 |
| container_title_str |
Ética y Cine Journal |
| language |
Español |
| format |
Artículo revista |
| topic |
Espectáculo Guerra Representación Violencia Imagen Show War Representation Violence Image |
| spellingShingle |
Espectáculo Guerra Representación Violencia Imagen Show War Representation Violence Image Moscovitz, Françoise Dunkerque |
| topic_facet |
Espectáculo Guerra Representación Violencia Imagen Show War Representation Violence Image |
| author |
Moscovitz, Françoise |
| author_facet |
Moscovitz, Françoise |
| author_sort |
Moscovitz, Françoise |
| title |
Dunkerque |
| title_short |
Dunkerque |
| title_full |
Dunkerque |
| title_fullStr |
Dunkerque |
| title_full_unstemmed |
Dunkerque |
| title_sort |
dunkerque |
| description |
The author interprets the discomfort and anger that she felt when she saw the chronicle of the operation Dynamo, Dunkirk, from the fright generated through the music, the insistent plans about the wounded and the dead. An insult to these dead heroes. This type of film can have a pedagogical character, but it is more about enjoying an awful spectacle. The spectator witnesses a history of the past but leaves it in a passive position. The author also analyzes the degree of tolerance: there is acceptable violence and another that is not. It also distinguishes the productions that are directed to the destructive impulses of those that deal with releasing the spectator. In the case of this film, it is only about the inhumanity of blind destruction. Finally, he reflects on the relationship between cinema and art but also has a relationship with the production industry that seeks to dazzle and move viewers. |
| publisher |
Centro de Investigaciones y Estudios sobre Cultura y Sociedad |
| publishDate |
2018 |
| url |
https://revistas.unc.edu.ar/index.php/eticaycine/article/view/22757 |
| work_keys_str_mv |
AT moscovitzfrancoise dunkerque AT moscovitzfrancoise imagenvirtualimagenreal |
| first_indexed |
2024-09-03T20:50:50Z |
| last_indexed |
2024-09-03T20:50:50Z |
| _version_ |
1809209518655012864 |