La forma fílmica y la alteridad
Hacia una lectura ética de la obra de Stanley Kubrick
Bibliographic Data
| ID | 21223857 |
|---|---|
| Authors | Aarón Rodríguez Serrano (0000-0002-3858-1045, Universitat Jaume I, corresponding author) |
| Year | 2018 |
| Volume | 17 |
| Publication date | 2018-07-10 |
| Open Access | Yes |
| Type | ARTICLE |
| Venue | Fotocinema Revista científica de cine y fotografía (JOURNAL) |
| Journal identifiers | ISSN: 2172-0150 • E-ISSN: 2172-0150 |
| Publisher | Malaga University (PUBLISHER) |
| DOI | 10.24310/fotocinema.2018.v0i17.5119 |
| OpenAlex | W2890961725 |
| Language | ES |
| References cited | 2 |
Our work tries to analyze the ethical implications of the filmic form in the movies directed by Stanley Kubrick. In order to achive our goal, we use a methodology of textual and narratological analyse over different movies –specially, Lolita, Spartacus and The Clockwork Orange-, trying to understand how the director uses the flows of empathy and the management of the “point of view” to rise complex debates about the nature of the world. The structure of our discussion is focused on his uses of the framing, the shot/reverse-shot filming, the edition and the structural disposition of his stories, looking for an ethical bet in his filmic writing. Finally, we conclude that against the common acussations of “pesismism” or even “nihilism”, Kubrick ́s cinema is totally awar of the otherness and takes a decided care and rigour when it shows the complexity of the relations between human beings
Art · Art history · Epistemology · Humanities · Movie theater · Rigour · Cinema History and Criticism · History · Literature, Film, and Journalism Analysis · Philosophy
| Highly cited | No |
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