| Journal: | Ensayos. Historia y teoría del arte |
| Database: | CLASE |
| System number: | 000408884 |
| ISSN: | 1692-3502 |
| Authors: | Goyes, Julio César1 |
| Institutions: | 1Universidad Nacional de Colombia, Bogotá. Colombia |
| Year: | 2009 |
| Number: | 16 |
| Pages: | 67-78 |
| Country: | Colombia |
| Language: | Español |
| Document type: | Artículo |
| Approach: | Descriptivo |
| Spanish abstract | Alfred Hitchcock dejó un legado estético para las generaciones posclásicas. Su manierismo revisor del relato y la representación clásica, su virtuosismo visual tan espejeante como vacío, acentuaron el suspenso como una manera de involucrar al espectador. Este ensayo propone una relectura de una de sus películas claves La ventana indiscreta (1954), desde dos estrategias de su escritura fílmica que deconstruyen sutilmente la eficacia simbólica hasta el espejismo del deseo: el fuera-de- campo y la mirada rota que escruta fascinada al objeto seductor, justo allí donde el crimen acontece o parece haber acontecido |
| English abstract | Postclassical generations have profited from Alfred Hitchcock’s aesthetic legacy. His mannerism, which questioned classical narrative and representation, and his visual virtuosity, as mirrorlike as empty, emphasized suspense as a way to involve the audience. This paper poses a new reading of one of his key films, Rear Window (1954), by scrutinizing two strategies of his filmic writing which subtly deconstruct the efficacy of symbols up to desire’s mirage: the off-camera and the shattered look gaping at the seductive object just where the crime has occurred or seems to have occurred |
| Disciplines: | Arte |
| Keyword: | Crítica del arte, Arte y sociedad, Cine, "La ventana indiscreta", Hitchcock, Alfred, Análisis |
| Full text: | Texto completo (Ver PDF) |
