Journal Etica y Cine es SPIP - The representation of the origin of humanity in '2001: A Space Odyssey 2017-12-11T01:19:07Z text/html es Valentín Huarte <p><strong>Abstract</strong></p> <p>The relations between humanity and technics confront thinking with a series of paradoxes. In order to start our exposition we return to the synthesis elaborated by Andrew Feenberg in relation to this problem. Then we focus on the exposition of french philosopher Bernard Stiegler's propositions, who has attempted to give an answer to this problem through an original theoretical development. We return succinctly to the concepts of technical system, tendency and anticipation in order to consider the commentary and appropriation that the french philosopher makes of the paleoanthropological discoveries of Léroi-Gourhan. Finally we focus on some remarks in relation to the movie “2001: Space Odyssey” in the light of this issues, in order to apply the previously presented concepts.</p> <p><strong>Keywords:</strong> Stiegler | Technics | Time | Anticipation</p> - <a href="" rel="directory">V7(3)</a> <div class='rss_chapo'><p>Facultad de Filosofía y Humanidades Universidad Nacional de Córdoba</p></div> <div class='rss_texte'><p>This article is, for the time being, only available in Spanish: <a href="" class='spip_in'>La representación del origen de la humanidad en “2001: A Space Odyssey”</a></p></div> Emerging film in Ecuador 2017-12-11T01:19:01Z text/html es Álvaro Pazmiño Tello, Marcela Mora <p><strong>Abstract</strong></p> <p>The present work reflects on the emerging film in Ecuador, through a structural analysis of the national feature film “The Governer”, premiered in the year 2015 and produced for 10 days. This narrates the story of a political prisoner and his escape, dealing with common themes such as power and corruption. Likewise, an audience analysis is performed with the students from the Faculty of Communication, Arts and Humanity of the University Tecnológica Equinoccial, as practical Cinematography course work to deepen the meaning associated to the film from its emergent character. Emerging film arises as a solution to the limited production forms and low Budget cost, done in record time, with socially identifiable concepts directed to a local or regional audience. This cinema is rooted in the development of technical aspects and the opening of commercial roads.</p> <p><strong>Keywords:</strong> emerging film | ecuadorian cinema | production | audience</p> - <a href="" rel="directory">V7(3)</a> <div class='rss_chapo'><p>Universidad Tecnológica Equinoccial</p></div> <div class='rss_texte'><p>This article is, for the time being, only available in Spanish: <a href="" class='spip_in'>Cine emergente en Ecuador: Poder y corrupción</a></p></div> Neighbors in conflict: an ethical dilemma? 2017-12-11T01:18:54Z text/html es Ana Irene Medina, Mirta Carrasco <p><strong>Abstract</strong></p> <p>The house next door is a film directed by Mariano Cohn and Gastón Duprat Argentina and premiered in 2009.From the fact of opening a window in a wall shared by two neighbors, it is put into play the interaction between people from different social fields.The problem becomes a conflict and conflict in an ethical dilemma trying different ways of resolution.The problem becomes a conflict and conflict in an ethical dilemma trying different ways of resolution. In the flow of the film they will unmaskthe true values of the protagonists as representatives of the social fields which come.Actions under deontological ethical-philosophical positions are analyzed, from Kant, Habermas to Cortina.</p> <p><strong>Key words:</strong> conflict | ethical dilemma | bioethics | moral</p> - <a href="" rel="directory">V7(3)</a> <div class='rss_chapo'><p>Farmacia de Química, Bioquímica y Farmacia Universidad Nacional de San Luis</p></div> <div class='rss_texte'><p>This article is, for the time being, only available in Spanish: <a href="" class='spip_in'>Vecinos en conflicto: ¿un dilema ético?</a></p></div> The repression of the desire in Cuban cinema: the sexual antiheroes of Memories of Underdevelopment, Cecilia and Strawberry and Chocolate 2017-12-11T01:18:45Z text/html es Gabriel Guillén <p><strong>Abstract</strong></p> <p>This article explores the “playboy” as a sexual antihero in three of the most representative films of Cuban cinema, Memorias del subdesarrollo (1968), Cecilia (1981), and Fresa y Chocolate (1994). The visual censorship of these antiheroes reflects the moral architecture of a political system that, at least during the 1960s, tried to “dictate” the intimate life of its citizens. Through a detailed analysis of the three films, it seeks to demonstrate that this repression of desire transcends the condemnation of a visual patriarchy, joining Hollywood cinema in the sanction of sexual appetite. The repressions of film protagonists Sergio, Leonardo and Diego represent a conservative and bourgeois morality, despite some legitimate intentions such as the irony over the male desire of the camera or the integration of the homosexuality in revolutionary Cuba.</p> <p><strong>Keywords:</strong> Cuban cinema | sexuality | cinema and ideology</p> - <a href="" rel="directory">V7(3)</a> <div class='rss_chapo'><p>Middlebury Institute of International Studies</p></div> <div class='rss_texte'><p>This article is, for the time being, only available in Spanish: <a href="" class='spip_in'>La represión del deseo en el cine cubano: los antihéroes sexuales de Memorias del subdesarrollo, Cecilia y Fresa y Chocolate</a></p></div> Evocation of memories through Mexican gold cinema 2017-12-11T01:18:32Z text/html es Annika Maya Rivero, Maricruz Castro Ricalde <p><strong>Abstract</strong></p> <p>Reminiscence therapy, which consists of memory recall in people with dementia through support materials, is a resource rarely used in Latin American countries, due to the lack of appropriate materials and the lack of a guide or method. The use of cinema as a tool of reminiscence therapy has been a recent incursion, its application has been carried out in the United Kingdom as well as in the United States of North America. Under the assumption: Cinema can detonate memories in elderly people with dementia, besides functioning as an integrator of various elements of the symbolic material culture referring to the time corresponding to the so-called reminiscence bump, three interventions were performed in a group of 15 elderly people with dementia, located in the city of Toluca, Mexico. The film of the Mexican cinema of the golden era was projected: "I am rooster where I want (Jimmy)" (1954). Its projection was divided in three sessions, in which material of support was used, extracted of the film, this material was classified according to the human senses in order to promote the sensorial stimulation in the participants. Older people with dementia are interested in talking about movies and movies. There were autobiographical memories of the participants, as well as positive changes in mood and behavior.</p> <p><strong>Key words</strong> Dementia, mexican cinema, reminiscence therapy, mexican elderly, memory</p> - <a href="" rel="directory">V7(3)</a> <div class='rss_chapo'><p>Universidad Autónoma del Estado de México, Facultad de Arquitectura y Diseño. Toluca, Estado de México, México.</p> <p>Instituto Tecnológico de Estudios Superiores de Monterrey, Departamento de Comunicación y Humanidades. Toluca, Estado de México, México.</p></div> <div class='rss_texte'><p>This article is, for the time being, only available in Spanish: <a href="" class='spip_in'>Evocación de memorias a través del cine de oro mexicano</a></p></div> Fighting with films 2017-12-11T01:18:22Z text/html es Diego Mollá Furió, Josep Gavaldà Roca <p><strong>Abstract</strong></p> <p>The article analyzes film discourse, both informative and fiction, in the United States during the First World War. The article places “the division of films” in the framework of the complex campaign of institutional communication started by W. Wilson's government after the war declaration by analyzing “publicity” and “propaganda” strategies deployed by the Committee on Public Information, which was created ad hoc for the military campaign. On the one hand, the paper explores the film stories, both documentary and fiction, distribution apparatus in both the United States and the international markets, the administration policies and the involved agencies, especially in the international distribution. On the other hand, it examines the model of production concerning the contracts signing with film companies and the organization adopted by the Committee on Public Information to create its own productions and participate in joint projects with film companies. The paper places emphasis on the “theory” developed by the Committee on Public Information about script-writing and film staging, particulary on the case of documentary stories, which were based in a model, hybridized with fiction stories, in order to stimulate demand for “educational”, “propaganda” film-making, to which the exhibitors initially showed signs of resistence. The paper also highlights, in overall terms, how iconical representation was categorized and, in particular, the assessment on the role silent cinema can play in the Committee's development of communicative strategies. In spite of the Comittee's avoidance of the “propaganda” category, as its own name shows, iconical representation was given “highest propaganda value” and was granted a place of privilege, particularly, in the international campaign's call to spread “the gospel of americanism” around the globe.</p> <p><strong>Keywords:</strong> Political Communication | Propaganda | Publicity/Advertising | Film Discourse | Discourse Analysis</p> - <a href="" rel="directory">V7(3)</a> <div class='rss_chapo'><p>Universidad de Valencia, España</p></div> <div class='rss_texte'><p>This article is, for the time being, only available in Spanish: <a href="" class='spip_in'>Fighting with films</a></p></div> Testimony of the lost image 2017-12-11T01:18:15Z text/html es Santiago Martín López Delacruz <p><strong>Abstract</strong></p> <p>The following research work is about the Cambodian film L' image manquante (original title).This documentary was produced in 2013, written and directed by Rithty Panh. The film shows the genocide that took place in Cambodia between 1975 and 1979 during the dictatorial regime of Pol Pot and the Khmer Rouges' army. This research follows three lines of study: observing the representation nuisance in the subjective documentary, resolving the relationship between cinema and reality and examining the aesthetic condition of the representation through image. This work aims to offer an approach to the cinematographic representation of genocide or a historical massacre, using the story of a historical world through the concept of representation. Altogether using image like a testimony of lived moments through memory and remembrance.</p> <p><strong>Key words:</strong> Documentary films | history | cinematographic aesthetic | representation</p> - <a href="" rel="directory">V7(3)</a> <div class='rss_chapo'><p>Facultad de Información y Comunicación, Universidad de la República</p></div> <div class='rss_texte'><p>This article is, for the time being, only available in Spanish: <a href="" class='spip_in'>El testimonio de la imagen perdida: representación cinematográfica de la masacre histórica</a></p></div> The Memory and its connection to the past 2017-12-11T01:18:05Z text/html es Marina Trakas <p><strong>Abstract</strong></p> <p>Taking as starting point Akira Kurosawa's film, I analyse the tension between the reconstructive nature of memory and the possibility of knowing truths from the past, and I explore if the tendency to align our personal memories to our present interests necessarily leads to an sceptic and relativistic vision of the knowledge from the past.</p> <p><strong>Keywords:</strong> reconstructive memory, past, truth, truthfulness, self-deception, selfishness.</p> - <a href="" rel="directory">V7(3)</a> <div class='rss_chapo'><p>Profesora de Filosofía – Academia de Caen (Francia) Doctora en Filosofia y Ciencias Cognitivas – Macquarie University (Australia) & Ecole des Hautes Etudes en Sciences Sociales (Francia)</p></div> <div class='rss_texte'><p>This article is, for the time being, only available in Spanish: <a href="" class='spip_in'>Rashômon. La memoria y su conexión con el pasado</a></p></div> Memor(ies) in the cinema, memor(ies) of the cinema 2017-12-11T01:17:46Z text/html es Irene Cambra Badii This article is, for the time being, only available in Spanish: Editorial - <a href="" rel="directory">V7(3)</a> <div class='rss_texte'><p>This article is, for the time being, only available in Spanish: <a href="" class='spip_in'>Editorial</a></p></div> TerraDois 2017-12-11T01:11:48Z text/html es Juan Jorge Michel Fariña <p><strong>Resumen</strong></p> <p><i>Terra Dois</i>, la creación del psicoanalista Jorge Forbes que se emite por la televisión pública brasileña, fue nominada por la Associação Paulista de Críticos de Arte (APCA) para el premio 2017 a mejor programa televisivo. Esta breve reseña ofrece algunos lineamientos sobre la original propuesta ético-estética, leída en interlocución con la conocida serie inglesa <i>Black Mirror</i>. El texto integra la contribución del autor a la conversación anual de IPLA que tendrá lugar en Sao Paulo el 8 y 9 de diciembre de 2017, destinada justamente a una reflexión psicoanalítica sobre <i>Terra Dois</i>.</p> - <a href="" rel="directory">V7(3)</a> <div class='rss_texte'><p><span class='spip_document_948 spip_documents spip_documents_center'> <img src='' width='500' height='281' alt="" style='height:281px;width:500px;' /></span></p> <p><strong>¿Qué es TERRADOIS?</strong></p> <p>Jorge Forbes llama TERRADOIS a este nuevo planeta que habitamos. Un planeta que es geográficamente igual al que siempre hemos conocido, y cuyos habitantes nos resultan familiares. Pero allí terminan las similitudes. Porque a partir de entonces, todo se transforma. Desde el nacimiento hasta la muerte, pasando por las distintas etapas de la vida: educar, estudiar, amar, casarse, trabajar, procrear, profesionalizarse, divertirse, jubilarse, todo deviene radicalmente diferente.</p> <p>A la manera de la serie <i>Black Mirror</i>, cada episodio presenta un escenario de esta transformación. Una transformación que ya está en curso y de la cual somos protagonistas aun sin advertirlo. Pero a diferencia de la serie inglesa, la propuesta de Forbes introduce una estrategia explícita de pensamiento sobre el problema.</p> <p>Cada episodio se inicia con la entrada de un tema, presentado por Jorge Forbes en diálogo con una periodista. Luego se pasa a una deliberación, en la que participa el equipo de producción, incluidos los guionistas y actores que serán responsables luego de la dramatización del escenario en discusión. Tiene lugar entonces un teatro dentro del teatro, en el que a la manera de la <i>play scene</i> de Hamlet, se pone en acto el núcleo real de la cuestión. En el cierre, el psicoanalista interpela la escena abriendo así un efecto de subjetividad suplementaria.</p> <p>Desde el Programa de Ciencia y Técnica de la UBA se está trabajando en el subtitulado al español de los episodios y en la organización de una reflexión sobre el material allí desplegado. A manera de adelanto, proponemos el visionado de un episodio que indaga la cuestión de la inmortalidad:</p> <p><a href="" class='spip_url spip_out' rel='nofollow external'></a></p> <p>El episodio se llama “Sinfonía sin fin” y puede ser pensado en interlocución con el capítulo “San Junípero” de la serie <i>Black Mirror</i>. Mientras que en la serie inglesa las ancianas pudieron hacer algo con el síntoma, los personajes de <i>Terra Dois</i> quedan entrampados en la repetición a que conduce el anhelo de inmortalidad. En el episodio queda claro el anhelo yoico, narcisista, de querer vivir para siempre, encarnado en el discurso del músico que se empeña en permanecer virtualmente. Pero es interesante ver que el efecto de déficit alcanza también al otro personaje, Tom, quien sobre el final cree haber burlado la trampa que se le había tendido. Pero no advierte que, banalizando la música y la personalidad del muerto, se condena él mismo a una degradación como sujeto.</p> <p>Recordemos por un momento el film “El secreto de sus ojos”: cuando Morales, el personaje jugado por el actor Pablo Rago se empeña en garantizar la reclusión perpetua del asesino Gómez, no advierte que se condena él mismo a reclusión perpetua. Análogamente, Tom, se esclaviza a sí mismo al asumirse como celador de la progresiva descomposición musical y humana del otro.</p> <p>En otras palabras, el anhelo de inmortalidad, no solo es vano para quien ya no está, sino también para los guardianes de su pretendida permanencia. En el episodio de <i>Black Mirror</i> se trata de la gigantesca empresa de realidad virtual, con los nichos de los muertos vivos latiendo al compás de la repetición. En <i>TerraDois</i>, del gesto maníaco y vengativo de Tom y su plan de convertir al otro en “un idiota que vivirá para siempre”. ¿Qué culpa está penando este joven en relación al duelo por su padre, cuando para evitar responder por ella se embarca en velar el suicidio del otro?</p> <p><strong>La clínica lacaniana de TerraDois</strong></p> <p>Otros episodios de TerraDois han sido comentados por psicoanalistas en el marco de las Jornadas Anuales de IPLA, en Sao Paulo:</p> <p>“Versão do Amor” (Versión del amor)</p> <p>Felipe de Souza Simil <br />Márcia Maria Venâncio <br />Silva Marlene Cardoso <br />Raquel de Freitas Poli <br />Renata de Melo <br />Felipe da Silva</p> <p>Tutora: Dorothee Rüdiger</p> <p>“O Chefe que virou Chef” (El jefe de familia que devino chef de cocina”</p> <p>Clovis Pinto de Castro <br />Edwin Koterba Gislaine <br />Romão Batista <br />Maria do Carmo Branco <br />Silvia Marques <br />Renatta Giongo Ming</p> <p>Tutoras: Elza Macedo y Teresa Genesin</p> <p>“Caffeine” (Cafeína)</p> <p>César Nogueira <br />Glauco De Vita <br />Katia Calegari <br />Luciana Celani <br />Paulo Afonso <br />Ronca Sheila de Feba <br />Wilza Medeiros</p> <p>Tutores: Alain Mouzat y Liége Lise</p> <p>“Envelhescência” (Envejecimiento)</p> <p>Anna Carmagnani <br />Antonio Marcos Pereira Della Gatta <br />Débora C. M. Baghin Spinelli <br />Heloina Araujo de Langlais <br />Hugo Vieira <br />Lilian Cristina Costa Matos <br />Natália Sardenberg</p> <p>Tutora: Liége Lise</p> <p>Para quienes deseen ver estos y otros episodios, las versiones originales en portugués están disponibles en el canal YouTube de TerraDois:</p> <p><a href="" class='spip_url spip_out' rel='nofollow external'></a></p></div>