La elección en virtud del absurdo en Temor y Temblor como modelo del antihéroe en el Film Noir

Kierkegaard argues in Fear and Trembling through the biblical figure of Abraham that the way to recover the possible is only in the performing of the movement of faith as a choice by virtue of the absurd that moves from infinite resignation to infinite belief, in the form of a singular inner possibility invisible to the eye of the judgment of the generality. Therefore, the way to understand it can only be indirect and through the reduplication of the reader. And it is because of this aspect that Deleuze has said that Kierkegaard is an antecedent of the cinematograph, because the cinematograph can capture that true movement and radical freedom. Furthermore, it is the Film-Noir genre that has best adopted this existential model of choice by virtue of the absurd in the figure of its antihero. Therefore, in this paper, we intend to show how Kierkegaard's existential model in the first part of Fear and Trembling of choice by virtue of the absurd constitutes the model of the antihero in Film-Noir, using as a particular analysis the 2019 Romanian film La Gomera by Corneliu Porumboiu, where he creatively expresses this singularity with a language for two singulars that is absurd for the general grammar, in such a way that cinema is a mode of continuation of the existential poetic thought generated in Kierkegaard's thought

Absurdism · Absurdity · Bad faith · Existentialism · Faith · Virtue · Cinema History and Criticism · Kierkegaardian Philosophy and Influence · Literary and Philosophical Studies