Dirk Laurent está muerto: la cinta de möbius como estructura narrativa novedosa del cine de la posmodernidad = Dirk Laurent is dead: the möbius strips as an innovative narrative structure in post-modernity cinema
One of the unwonted characteristics of these last three decades of cinema is its use of time loops, with works organised as if they were Moebius strips, visualizations of the maximum eccentricity applied to the conception of the temporal in the postmodernism. These films by Lynch, by Weerasethakul,...
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| Tipo de recurso: | artículo |
| Estado: | Versión publicada |
| Fecha de publicación: | 2017 |
| País: | España |
| Institución: | Varias* (Consorci de Biblioteques Universitáries de Catalunya, Centre de Serveis Científics i Acadèmics de Catalunya) |
| Repositorio: | Recercat. Dipósit de la Recerca de Catalunya |
| OAI Identifier: | oai:recercat.cat:10256/15071 |
| Acceso en línea: | http://hdl.handle.net/10256/15071 |
| Access Level: | acceso abierto |
| Palabra clave: | Cinematografia Motion pictures Postmodernitat Postmodernism |
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Dirk Laurent está muerto: la cinta de möbius como estructura narrativa novedosa del cine de la posmodernidad = Dirk Laurent is dead: the möbius strips as an innovative narrative structure in post-modernity cinemaFerrer Ventosa, RogerCinematografiaMotion picturesPostmodernitatPostmodernismOne of the unwonted characteristics of these last three decades of cinema is its use of time loops, with works organised as if they were Moebius strips, visualizations of the maximum eccentricity applied to the conception of the temporal in the postmodernism. These films by Lynch, by Weerasethakul, by Marker or by Gilliam are an entrance to the hall of concave and convex mirrors, where a “good morning” means a final addio, where the exit door facilitates access to the bottomless abyss, obtained from multiple reflections of the faced mirrorsUna de las características más insólitas del cine de las tres últimas décadas es su utilización de bucles temporales, con obras organizadas como si fueran cintas de Moebius, plasmaciones de la extravagancia máxima aplicada a la concepción de lo temporal en el posmodernismo. Estos filmes de Lynch, Weerasethakul, Marker o Gilliam constituyen una entrada en el salón de los espejos cóncavos y convexos en donde un buenos días equivale a un addio definitivo, en el que la puerta de salida facilita el acceso a los abismos sin fondo obtenidos mediante reflejos múltiples de los espejos encaradosGrupo EUMEDNET2017info:eu-repo/semantics/articleinfo:eu-repo/semantics/publishedVersionpeer-reviewedapplication/pdfhttp://hdl.handle.net/10256/15071http://hdl.handle.net/10256/15071Arte y Sociedad: revista de Investigación, 2017, núm. 13, 15 p.Articles publicats (D-H)reponame:Recercat. Dipósit de la Recerca de Catalunyainstname:Varias* (Consorci de Biblioteques Universitáries de Catalunya, Centre de Serveis Científics i Acadèmics de Catalunya)Españolinfo:eu-repo/semantics/altIdentifier/eissn/2174-7563Attribution-NonCommercial-NoDerivs 3.0 Spainhttp://creativecommons.org/licenses/by-nc-nd/3.0/es/info:eu-repo/semantics/openAccessoai:recercat.cat:10256/150712026-05-29T05:05:01Z |
| dc.title.none.fl_str_mv |
Dirk Laurent está muerto: la cinta de möbius como estructura narrativa novedosa del cine de la posmodernidad = Dirk Laurent is dead: the möbius strips as an innovative narrative structure in post-modernity cinema |
| title |
Dirk Laurent está muerto: la cinta de möbius como estructura narrativa novedosa del cine de la posmodernidad = Dirk Laurent is dead: the möbius strips as an innovative narrative structure in post-modernity cinema |
| spellingShingle |
Dirk Laurent está muerto: la cinta de möbius como estructura narrativa novedosa del cine de la posmodernidad = Dirk Laurent is dead: the möbius strips as an innovative narrative structure in post-modernity cinema Ferrer Ventosa, Roger Cinematografia Motion pictures Postmodernitat Postmodernism |
| title_short |
Dirk Laurent está muerto: la cinta de möbius como estructura narrativa novedosa del cine de la posmodernidad = Dirk Laurent is dead: the möbius strips as an innovative narrative structure in post-modernity cinema |
| title_full |
Dirk Laurent está muerto: la cinta de möbius como estructura narrativa novedosa del cine de la posmodernidad = Dirk Laurent is dead: the möbius strips as an innovative narrative structure in post-modernity cinema |
| title_fullStr |
Dirk Laurent está muerto: la cinta de möbius como estructura narrativa novedosa del cine de la posmodernidad = Dirk Laurent is dead: the möbius strips as an innovative narrative structure in post-modernity cinema |
| title_full_unstemmed |
Dirk Laurent está muerto: la cinta de möbius como estructura narrativa novedosa del cine de la posmodernidad = Dirk Laurent is dead: the möbius strips as an innovative narrative structure in post-modernity cinema |
| title_sort |
Dirk Laurent está muerto: la cinta de möbius como estructura narrativa novedosa del cine de la posmodernidad = Dirk Laurent is dead: the möbius strips as an innovative narrative structure in post-modernity cinema |
| dc.creator.none.fl_str_mv |
Ferrer Ventosa, Roger |
| author |
Ferrer Ventosa, Roger |
| author_facet |
Ferrer Ventosa, Roger |
| author_role |
author |
| dc.subject.none.fl_str_mv |
Cinematografia Motion pictures Postmodernitat Postmodernism |
| topic |
Cinematografia Motion pictures Postmodernitat Postmodernism |
| description |
One of the unwonted characteristics of these last three decades of cinema is its use of time loops, with works organised as if they were Moebius strips, visualizations of the maximum eccentricity applied to the conception of the temporal in the postmodernism. These films by Lynch, by Weerasethakul, by Marker or by Gilliam are an entrance to the hall of concave and convex mirrors, where a “good morning” means a final addio, where the exit door facilitates access to the bottomless abyss, obtained from multiple reflections of the faced mirrors |
| publishDate |
2017 |
| dc.date.none.fl_str_mv |
2017 |
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info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion peer-reviewed |
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article |
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publishedVersion |
| dc.identifier.none.fl_str_mv |
http://hdl.handle.net/10256/15071 http://hdl.handle.net/10256/15071 |
| url |
http://hdl.handle.net/10256/15071 |
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Español |
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Español |
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info:eu-repo/semantics/altIdentifier/eissn/2174-7563 |
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Attribution-NonCommercial-NoDerivs 3.0 Spain http://creativecommons.org/licenses/by-nc-nd/3.0/es/ info:eu-repo/semantics/openAccess |
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Attribution-NonCommercial-NoDerivs 3.0 Spain http://creativecommons.org/licenses/by-nc-nd/3.0/es/ |
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openAccess |
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application/pdf |
| dc.publisher.none.fl_str_mv |
Grupo EUMEDNET |
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Grupo EUMEDNET |
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Arte y Sociedad: revista de Investigación, 2017, núm. 13, 15 p. Articles publicats (D-H) reponame:Recercat. Dipósit de la Recerca de Catalunya instname:Varias* (Consorci de Biblioteques Universitáries de Catalunya, Centre de Serveis Científics i Acadèmics de Catalunya) |
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Varias* (Consorci de Biblioteques Universitáries de Catalunya, Centre de Serveis Científics i Acadèmics de Catalunya) |
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Recercat. Dipósit de la Recerca de Catalunya |
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Recercat. Dipósit de la Recerca de Catalunya |
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