A tectonic aesthetics. Individuational logics in cinematographic images.

This article is interested in the individuational logics that surround images, specifically in the kind of cinematographic images that we identify as “classical”. In order to do that, I will start with the analysis of two cinematographic techniques known as shot-and-reverse-shot cutting and long tak...

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Autor principal: Robles, Santiago
Formato: Artículo publishedVersion
Lenguaje:Español
Publicado: Facultad de Filosofía y Letras, Universidad de Buenos Aires 2022
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Acceso en línea:http://revistascientificas.filo.uba.ar/index.php/CdF/article/view/12110
http://repositoriouba.sisbi.uba.ar/gsdl/cgi-bin/library.cgi?a=d&c=cufilo&d=12110_oai
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spelling I28-R145-12110_oai2023-02-28 Robles, Santiago 2022-11-15 This article is interested in the individuational logics that surround images, specifically in the kind of cinematographic images that we identify as “classical”. In order to do that, I will start with the analysis of two cinematographic techniques known as shot-and-reverse-shot cutting and long take or sequence shot. The goal of the article would be to appreciate, in both cases, the enactment of the cinematographic image’s most fundamental element in its classical production: the frame. Starting from this technical element, I will make a characterization of these only to find a kind of aesthetics that we could call correlationist, since the camera works as an absolute conscience which chooses and limits its own object while it gives existence to it. Then, by reviewing the cinema of Ben Rivers, I will examine whether it’s possible to detach cinema from this strictly humanist individuating logic, in order to imagine a possible post-humanist cinema that would account for other kinds of existences without reducing them to a cinematographic or, in this case, humanist point of view. Este artículo indaga en las lógicas individuantes que circulan a través de las imágenes, específicamente en las imágenes cinematográficas que denominaremos “clásicas”. Para ello, partiré del análisis de dos técnicas cinematográficas conocidas como plano-contraplano y plano secuencia. Se trata de evidenciar que, en ambos casos, asistimos al trabajo del elemento más fundamental de la imagen cinematográfica en su producción clásica: el encuadre. A partir del análisis de este elemento técnico, trataré de plasmar cuáles son las características de este tipo de imágenes para encontrarnos con una estética que podríamos llamar correlacionista, en la medida en que la cámara hace las veces de una consciencia absoluta que pone y limita su propio objeto a la vez que lo dota de existencia. Luego, de la mano del cine de Ben Rivers, examinaré si es posible desligar al cine de esta lógica individuante propiamente humanista para pensar un cine post-humano que dé cuenta de otro tipos de existencia sin por eso reducirlos a un punto de vista cinematográfico o, en este mismo sentido, humanista. application/pdf http://revistascientificas.filo.uba.ar/index.php/CdF/article/view/12110 spa Facultad de Filosofía y Letras, Universidad de Buenos Aires http://revistascientificas.filo.uba.ar/index.php/CdF/article/view/12110/11044 Derechos de autor 2022 Cuadernos de filosofía Cuadernos de filosofía; Núm. 76 (2021): Enero-Junio 2362-485X 0590-1901 Agency, Individuation, Materialism, Post-humanism, Representation agencia, individuación, materialismo, post-humanismo, representación A tectonic aesthetics. Individuational logics in cinematographic images. Una estética tectónica. Las lógicas individuantes en las imágenes cinematográficas. info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion http://repositoriouba.sisbi.uba.ar/gsdl/cgi-bin/library.cgi?a=d&c=cufilo&d=12110_oai
institution Universidad de Buenos Aires
institution_str I-28
repository_str R-145
collection Repositorio Digital de la Universidad de Buenos Aires (UBA)
language Español
orig_language_str_mv spa
topic Agency, Individuation, Materialism, Post-humanism, Representation
agencia, individuación, materialismo, post-humanismo, representación
spellingShingle Agency, Individuation, Materialism, Post-humanism, Representation
agencia, individuación, materialismo, post-humanismo, representación
Robles, Santiago
A tectonic aesthetics. Individuational logics in cinematographic images.
topic_facet Agency, Individuation, Materialism, Post-humanism, Representation
agencia, individuación, materialismo, post-humanismo, representación
description This article is interested in the individuational logics that surround images, specifically in the kind of cinematographic images that we identify as “classical”. In order to do that, I will start with the analysis of two cinematographic techniques known as shot-and-reverse-shot cutting and long take or sequence shot. The goal of the article would be to appreciate, in both cases, the enactment of the cinematographic image’s most fundamental element in its classical production: the frame. Starting from this technical element, I will make a characterization of these only to find a kind of aesthetics that we could call correlationist, since the camera works as an absolute conscience which chooses and limits its own object while it gives existence to it. Then, by reviewing the cinema of Ben Rivers, I will examine whether it’s possible to detach cinema from this strictly humanist individuating logic, in order to imagine a possible post-humanist cinema that would account for other kinds of existences without reducing them to a cinematographic or, in this case, humanist point of view.
format Artículo
publishedVersion
author Robles, Santiago
author_facet Robles, Santiago
author_sort Robles, Santiago
title A tectonic aesthetics. Individuational logics in cinematographic images.
title_short A tectonic aesthetics. Individuational logics in cinematographic images.
title_full A tectonic aesthetics. Individuational logics in cinematographic images.
title_fullStr A tectonic aesthetics. Individuational logics in cinematographic images.
title_full_unstemmed A tectonic aesthetics. Individuational logics in cinematographic images.
title_sort tectonic aesthetics. individuational logics in cinematographic images.
publisher Facultad de Filosofía y Letras, Universidad de Buenos Aires
publishDate 2022
url http://revistascientificas.filo.uba.ar/index.php/CdF/article/view/12110
http://repositoriouba.sisbi.uba.ar/gsdl/cgi-bin/library.cgi?a=d&c=cufilo&d=12110_oai
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