The hypothesis of the hidden painting
Reality, experience, are of the order of the discontinuous, the fragmented. From these pieces of perception, the sequence of images-in-movement is used to organize a narrative, a script that disguises the horror of the gaze, the real behind the continuity. Imaginary or fantasy, which status should w...
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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/22762 |
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I10-R324-article-22762 |
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I10-R324-article-227622020-02-05T18:54:20Z The hypothesis of the hidden painting Figurabilidad fílmica: el estatuto pictográfico del cine Humphreys, Derek Figurabilidad Imagen/Imaginario Sueño Fantasma Inscripción colectiva del trauma Representability Image/Imaginary Dream Phantasy Collective inscription of the trauma Reality, experience, are of the order of the discontinuous, the fragmented. From these pieces of perception, the sequence of images-in-movement is used to organize a narrative, a script that disguises the horror of the gaze, the real behind the continuity. Imaginary or fantasy, which status should we give to these sequences? Playing with speed and with movement, the filmic production of David Lynch restores disarticulated fantasmatic series, referring to the original meaning of fantasm as an iconic image. On the other hand, Raul Ruiz seems to make rebuffs from the phantasmal images of Klossowsky, revealing the missing element in the set of empty and suspended icons we find in the “hypothesis of the stolen painting”. Lure or necessity, the construction of an image-movement as the basis of a narrative allows to integrate the experience, including that of trauma, deploying also instances of social recognition, an individual novel, collective myths, of a culture and a history. It is from this idea on the status of the iconic image in cinema, and its link to the fantasy and the civilizing tale, that we will analyze the absent character in Haneke’s Hidden (2005). Lo real, la experiencia, son del orden de lo discontinuo, de lo fragmentario. A partir de estos pedazos de percepción, la secuencia de imágenesen-movimiento permite la organización de un relato, de un guion que permite disfrazar el horror de la mirada, de lo real, detrás de una supuesta continuidad. ¿Imaginaria o fantasmática, qué valor dar a estas secuencias? Jugando con la velocidad y el movimiento, la producción de David Lynch restituye ciertas series fantasmáticas desarticuladas, remitiéndonos al sentido primero del fantasma como imagen icónica. Por su parte, Raúl Ruiz parece construir jeroglíficos a partir de las imágenes fantasmáticas de la escritura de Klossowsky, haciendo aparecer el elemento faltante dentro de un juego de iconos, vacíos y suspendidos, en “la hipótesis del cuadro robado”. Engaño o necesidad, la construcción de una imagen-movimiento como fundamente de un relato permita la integración de la experiencia, incluso aquella del trauma, desarrollando así las instancias de reconocimiento social, de la novela individual, del mito colectivo, de una cultura y de una historia. Es a partir de esta reflexión sobre el valor de la imagen icónica en el cine, en su relación al fantasma y al relato civilizador, que este artículo analiza el personaje ausente en el film Caché de Haneke y su relación à la reconstrucción (o a la ausencia de construcción) histórica y traumática de la guerra de Argelia en Francia. 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/22762 10.31056/2250.5415.v8.n2.22762 Ética y Cine Journal; Vol. 8 Núm. 2 (2018): Cine y Psicoanálisis: Memorias y luchas; 79-87 2250-5415 2250-5660 10.31056/2250.5415.v8.n2 spa https://revistas.unc.edu.ar/index.php/eticaycine/article/view/22762/23054 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 |
Figurabilidad Imagen/Imaginario Sueño Fantasma Inscripción colectiva del trauma Representability Image/Imaginary Dream Phantasy Collective inscription of the trauma |
| spellingShingle |
Figurabilidad Imagen/Imaginario Sueño Fantasma Inscripción colectiva del trauma Representability Image/Imaginary Dream Phantasy Collective inscription of the trauma Humphreys, Derek The hypothesis of the hidden painting |
| topic_facet |
Figurabilidad Imagen/Imaginario Sueño Fantasma Inscripción colectiva del trauma Representability Image/Imaginary Dream Phantasy Collective inscription of the trauma |
| author |
Humphreys, Derek |
| author_facet |
Humphreys, Derek |
| author_sort |
Humphreys, Derek |
| title |
The hypothesis of the hidden painting |
| title_short |
The hypothesis of the hidden painting |
| title_full |
The hypothesis of the hidden painting |
| title_fullStr |
The hypothesis of the hidden painting |
| title_full_unstemmed |
The hypothesis of the hidden painting |
| title_sort |
hypothesis of the hidden painting |
| description |
Reality, experience, are of the order of the discontinuous, the fragmented. From these pieces of perception, the sequence of images-in-movement is used to organize a narrative, a script that disguises the horror of the gaze, the real behind the continuity. Imaginary or fantasy, which status should we give to these sequences? Playing with speed and with movement, the filmic production of David Lynch restores disarticulated fantasmatic series, referring to the original meaning of fantasm as an iconic image. On the other hand, Raul Ruiz seems to make rebuffs from the phantasmal images of Klossowsky, revealing the missing element in the set of empty and suspended icons we find in the “hypothesis of the stolen painting”. Lure or necessity, the construction of an image-movement as the basis of a narrative allows to integrate the experience, including that of trauma, deploying also instances of social recognition, an individual novel, collective myths, of a culture and a history. It is from this idea on the status of the iconic image in cinema, and its link to the fantasy and the civilizing tale, that we will analyze the absent character in Haneke’s Hidden (2005). |
| publisher |
Centro de Investigaciones y Estudios sobre Cultura y Sociedad |
| publishDate |
2018 |
| url |
https://revistas.unc.edu.ar/index.php/eticaycine/article/view/22762 |
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AT humphreysderek thehypothesisofthehiddenpainting AT humphreysderek figurabilidadfilmicaelestatutopictograficodelcine AT humphreysderek hypothesisofthehiddenpainting |
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2024-09-03T20:50:52Z |
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2024-09-03T20:50:52Z |
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1809209519816835072 |