Alfonso Cuarón

La escenificación de Roma (Alfonso Cuarón, 2018), reconstruye con minucioso detalle la época de infancia del director, dando relevancia emocional a los espacios que la acogieron. Este artículo conecta esas evocaciones de los lugares, con textos de La poética del espacio, donde Gaston Bachelard hace inventario de simbologías del espacio. Su ensayo sirve aquí de herramienta para analizar la dimensión simbólica de la puerta conectando personajes y espacios. El objeto de este análisis son tres escenas: el descenso al bar subterráneo en la hacienda, el descubrimiento de la sortija abandonada por el padre de la familia y el primer día después del parto. El objetivo es demostrar que en las interacciones que Cleo (Yalitza Aparicio) tiene en cada escena con las puertas y con los espacios, dan muestra de su cambio y son signo crucial en su viaje personal. El topoanálisis planteado por Bachelard, un “estudio psicológico de los parajes de nuestra vida íntima”, incluye representaciones del hogar familiar y esta es la conexión para relacionarlo con las interacciones de la puerta en el film de Cuarón.

Praised by critics for its visual aesthetics, zero-G cinematography, and 3-D special effects, the film features NASA astronauts Dr. Ryan Stone (Sandra Bullock) and Matthew “Matt” Kowalski (George Clooney) who attempt to repair a malfunctioning telescope. Disaster strikes when a debris storm caused by a discarded Russian satellite damages the astronauts’ shuttle beyond repair.1 Lost in Space and cut off from communication with Houston, their struggle for survival begins. As its depiction in Gravity demonstrates, while it might be “a disorientatingly spaceless and timeless abyss” (Sage 2) and thus a virgin territory for earthly reasoning, Space has been and continues to be instilled and ‘humanized’ with meaning in the form of political, sociocultural, and religious agendas as well as those myths and symbols that some American studies scholars have laid out as exemplary for the American character. Primarily employing methods of close reading, the aim of this paper is to examine several of the movie’s motifs and key scenes within the transcendental nexus of American exceptionalism. Based on these evaluations, I argue that the representation of Space in Gravity draws on, endorses, and positions itself within the ideology of an exceptional American identity, which is shaped primarily by its relationship to geography, technocracy, and popular culture.

Establishing an intimate relationship between fictional characters and the viewer is of primary significance to the narrative film. In this chapter, I conceive film viewing as a quasi-intersubjective relationship between the viewer and the (main) character—two bodies involved in a physical, mental and emotional experience, while mediated by a third quasi-body: the film. To explore the nature of this complex relationship, I adopt a phenomenological perspective and rely on the notion of cinematic empathy: a pre-reflexive and ‘immediate’ psycho-physical process through which the viewer experiences a character’s perceptions, thoughts, actions, and emotions via embodied simulation. When conflating the bodily expression the character and the bodily perception of the viewer, a ‘shared experiential space’ emerges. My analysis of a scene of Alfonso Cuarón’s space-exploration film Gravity untangles this notion, placing particular attention on the character’s physical appearance and behaviour (e.g., body postures and facial expressions) in relation to the viewer. I depart from a phenomenological account of cinematic empathy and an ‘embodied’ conception of simulation offered by Belgian experimental psychologist Albert Michotte van der Berck, and subsequently explore relatively new assumptions from neuroscientific research.

(El Sol de México, Domingo 10 de febrero 2019) Como todas las grandes obras estéticas, "Roma" de Alfonso Cuarón se puede ver y sentir de innumerables maneras. Quiero centrarme en una. Roma es una de las críticas más mordaces y hermosas del cine a través del cine, la forma más pura de meta-crítica. Lo que Cuarón pone en juego es nada menos que una evaluación profunda de la capacidad del cine, como forma poética pura, para representar un mundo y al mismo tiempo su poder de transformarlo, como Wilde ordenó, "ocultando al artista". El cineasta mexicano ha puesto una poderosa luz sobre el cine como una forma de denuncia y protesta política, y como una forma estética que podría revertir las sólidas relaciones de esta cosa extraña que llamamos "realidad". Cuarón derriba las cuatro paredes del cine a través de la pura objetividad. ¿Hay objetividad en el arte? Solo si los medios a disposición del artista no perturban el mundo que ellos mismos crean. Si tal cosa es posible, el cineasta mexicano se ha acercado, como pocos, a través de una cámara que se convierte en un ojo desnudo, un ojo sin párpados que penetra a un pasado para producir el presente a cada corte. La cinematografía de Roma es un ojo espiritual que escinde las membranas del tiempo, no juzga, no interviene, sino que revela, desde una distancia calculada, los fantasmas que nos habitan. ¿Toma partido el director? Pues el que sabe que no hay jerarquía en la confección de la mirada y el sentido. Esta técnica que involucra un estilo que podríamos identificar como fenomenológico, convierte a Roma en un homenaje y al mismo tiempo un juicio crucial de los valores estéticos y políticos del cine. El director lleva al extremo los trabajos de algunos de los más relevantes cineastas de la historia. Cineastas que también se han distinguido por su compromiso político al mismo tiempo que son estetas hasta la médula. Cuarón utiliza el cine como una acusación al cine. Utiliza el cine como un vehículo para que el cine muestre sus límites ínsitos como forma de arte cuando enfrenta los abismos de la vida en su forma más cruda. Cuarón (hasta donde puedo ver yo) pregunta y responde qué pasaría si trajésemos escenas (y estilos) icónicos de Bergman, Hitchcock o Fellini a una historia impregnada de tintes raciales y coloniales. Por ejemplo, la escena de Cleo en medio de dolores de parto atrapada en un monumental atasco de tráfico en la Ciudad de México el día del "Halconazo" creo, proviene de la secuencia del sueño de 8 ½ de Fellini. Sin embargo, los contrastes hablan volúmenes, expresan mundos adyacentes que son diametralmente opuestos. La escena de Fellini expresa la "alienación" del hombre blanco urbano moderno. A pesar de su belleza, es solo eso, una alienación que no se desdobla en un mundo fracturado por relaciones muy complicadas de dominación de género, raza, etc. Es simplemente la carga posmoderna del intelectual cuyos demonios palpitan en sus venas culturales. Este tipo de alienación del hombre moderno es solo la punta de un iceberg, o más bien, otro privilegio del hombre blanco, que crea a los monstruos de poder los cuales él denuncia con privilegio estético al flexionar unos músculos lacios que jamás practicaron levantar ningún peso en común. Así, dicha denuncia es una cuenca ciega, es egoísta, cuando no narcisista. ¿Qué sucede cuando Cuarón pone a una mujer indígena en la misma situación en la que Fellini pone el carácter de Mastroianni? El mundo es arrojado al abismo del dolor, penetra instantáneamente y destruye las máquinas de alienación que

Roma filmi ünlü yönetmen Alfonso Cuarón tarafından çocukluk yıllarında dadılığını
yapan Cleo(Yaltza Aparco)’nun istemeyerek hamile kaldığı dönemde, Mexico City’nin Roma
mahallesindeki evini merkez alarak çekilen ünlü bir yapımdır. Aynı zamanda Roma filmi
dönemin önemli problemlerinden ekonomik çöküşü ve beraberindeki ABD’ye doğru
gerçekleşecek olan göçü çeşitli metaforlarla dile getirmektedir. Netflix’e ait bir yapım olması
sebebiyle de Cannes film festivali tarafından eleştirilen film1
, katıldığı her festivalden çeşitli
ödüllerle dönmeyi başarmıştır. Bu makalede birçok imgelemi barındıran Roma filmi, ana
karakteri Cleo’nun siyasal tanıklılığı çerçevesinde ideolojik temsilleri üzerinden incelenmiştir

How does Mexican cinema challenge national status quo, the canon of whiteness, and hegemonic masculinity? This paper identifies the motif of contrast in two films by Alfonso Cuarón and demonstrates that dual narratives are the necessary means through which criticism is conveyed, and Mexico’s antithetical social and political dynamics are portrayed. Award-winning "Y tu mamá también" (2001) uses the genre of coming-of-age, road-trip movie to address the Mexican contradiction between revolutionary impetus and persisting patriarchal attitudes. The film is defined by duality: the married woman Luisa Cortés, visiting from Spain, seduces the two teenage Mexicans Julio Zapata and Tenoch Itúrbide; the character’s names are borrowed from historical Spanish colonizers and Mexican revolutionaries; the “sea, sex and sun” narrative is regularly interrupted by documentary-style episodes and their political voiceover; homoerotic tension is juxtaposed to demonstrations of traditional mexicanidad and macho instincts. Manifold contrasts, binaries and dualities also characterize the new Golden-Globe winner "Roma" (2018):
black/white, Indigenous/white, Mixtec/Spanish, motherhood/child-caregiver, dirt/cleanliness, speech/silence, etc. The camera moves constantly and yet draws attention to great detail. Reality and fiction mingle as lead actress Yalitza Aparicio realizes while acting that her character Cleo is having a stillborn baby. The figure of the Indigenous
domestic worker is put to the forefront, which goes against the cult of white beauty that very much inhabits Mexico from screens to billboards until today. By constantly confronting contraries, both films provide a space for what Gloria Anzaldúa called “a new consciousness” of mestizo/a, and here, Mexican at large, identity.

Keywords: Alfonso Cuarón, mexicanidad, race, masculinity, status quo

Che mondo hanno "immaginato" i film del 2018? E prima ancora: come si riconosce un’immagine cinematografica negli ambienti mediali sempre più ibridati del 2018? Dai grandi schermi dei più importanti festival internazionali ai piccoli display delle nuove piattaforme streaming, il cinema sta tornando periodicamente a porsi queste domande originarie.

Technological advances have always had an impact on the development of new audio-visual aesthetics. Recently, exploiting the spatial capabilities of immersive sound technology in the form of Dolby Atmos, Alfonso Cuarón introduced in Gravity (2013) an innovative sound design approach that enhances the illusion of ‘presence’ in the space of the diegesis by always maintaining a coherent, realistic, and immersive representation of a given point-of-audition. Such sonic strategy – which we have termed immersive point-of-audition – provides a three-dimensional representation of the filmic space, localising sound effects, music, and dialogue in accordance to the position of the sources within the diegesis. In this paper, we introduce the definition and main characteristics of this emergent sound design approach, and using Gravity as an illustrative example, we argue that it has the potential of facilitating the processes of transportation and identification in cinema.

Despite the extensive economic and political globalization of the contemporary world, the presence and significance of international borders is still one of the most compelling influences on the lives of billions of human beings. A border (or sometimes the lack of one) can become the site of conflict between groups, or the crossing of a border can mean finding refuge from such conflict. Determining who can cross a border and who cannot is among the most immediate forms of power that a nation-state can exert, both on its own citizens and on “aliens,” whether they are already residing within those borders or attempting to cross them from outside. We will examine seven works of fiction and three films (all published/released within the last twenty years) that depict various ways in which borders – both literal and figurative – and the crossings thereof affect the lives of migrants, paying special attention to the distinction between voluntary and involuntary forms of migration.

We will begin the course with an excerpt from John Torpey’s 2000 book, _The Invention of the Passport: Surveillance, Citizenship, and the State_, with an eye towards gaining a clearer understanding of how the contemporary legal practices surrounding national citizenship came into being, as well as how they relate to (and complicate) the underlying cultural realities regarding the ways human communities divide and subdivide themselves. Torpey’s work offers both a conceptual and tonal primer to some of the issues regarding transnational mobility that are depicted in the books and films we’re examining this semester.

Doctoral Thesis
Columbia University
Department of Spanish and Portuguese
2009

This dissertation explores how contemporary Latin American cultural producers have transformed resistance and marginality into valuable commodities within their own unique spheres of influence. Mexican film directors Alfonso Cuarón, Alejandro
González Iñárritu, and Guillermo del Toro, for instance, have exploited a conjoined marginal identity within Hollywood as a springboard to international success, utilizing their collective difference as a key character trait in their creation of a hugely successful real-life cinematic narrative for themselves. Meanwhile, in the case of Argentine novelist César Aira, an ambivalence toward (and at times a venomous critique of) monumental modern authors and the literary works that sustain their personal grandeur constitutes an iconoclastic stance that has ironically helped him win publishing contracts worldwide. In present-day Venezuela, Hugo Chávez's multi-media effort to steer national discourse permeates every possible level of communication, feeding from the symbolic defiance of existing forms of popular media like graffiti writing and radical community television while co-opting them into an ever-expanding official apparatus. Finally, in contemporary Cuba, a region frequently considered "off the map" in terms of the effects of globalization, change is nevertheless happening through the efforts of clandestine bloggers and YouTube fanatics, connecting the necessarily marginalized interventions of illegal participants in banned technologies with an international audience eager to hear their tales of isolation and resistance. Each of these authors of contemporary Latin American culture has utilized a resistant stance and a marginal position as a platform for greater self-promotion and as a vehicle for reaching a more diversified audience of readers, investors, spectators, or citizens. Thus it is not strictly the traits of resistance and marginality that steer contemporary cultural production in Latin America, but rather the conversion of these traits into marketable commodities.

This article gives a full account of the experience of watching Cuarón's Roma in Mexico City's Casa del Cine. It calls attention to the new discipline required of spectators in rare screenings by this film, released only briefly to theaters, and places the film itself in the context of Mexico 2018. It calls attention to three aspects of the film that intersect with the politics of the time of exhibition: air travel, student demonstrations and budget cuts to the arts, including film.

There is a lack of scholarship that applies Masculinity, Intersectionality and Queer theory within Chicana/o Latina/o film studies. Secondly, there has also been a lack of attention and insufficient understanding of the period of Mexican cinema known as El Nuevo Cine Mexicano (The New Mexican Cinema). This period of cinema is crucial in redefining and establishing new ways of looking at Mexican national identity, also known as Mexicanidad. This is evidenced specifically by one of several productions within this time period that redefined cultural representation of Mexicanidad: Alfonso Cuarón’s debut feature Sólo con tu Pareja (1991). Through a close reading of the film, analyses of the economic and political climate of Mexico, film reviews and newspaper articles, I demonstrate how Cuarón’s directorial debut renegotiates Mexican cultural identity.

This article offers a reflection on the Lacanian theory of the representation of the sexual relation in film. It draws on the Lacanian logic of sexuation and its interpretation by Joan Copjec and Slavoj analyzing what the author calls the cinematic non-relation, taking as an example Alfonso Cuarón s film Y tu mamá también (2011). The article begins by returning to the work of Laura Mulvey, who was one of the first theorists to use psychoanalysis as a political weapon to challenge the phallocentric portrayal of women in Hollywood cinema. The author argues that Mulvey was correct in her conclusions, however not with regard to the production of a male gaze , but rather with regard to the cinematographic construction of male desire, which is a constitutive element of patriarchal society. The author argues that it is not by creating an alternative cinema, but rather developing critical theory, itself, as a political weapon that we are able to challenge the dominant ideology. It is the practice of theory that politicizes cinema and the spectator, rather than the reverse.

En la película Roma se cruzan algunos sucesos importantes de la infancia del Alfonso Cuarón con otros no menos relevantes en un país, México a principios de los años 70, en el que se no se respetaban algunos de los derechos humanos fundamentales. Para analizarlo, vamos a seguir la lectura de Luis Martín Arias (2000) de En torno al casticismo de Miguel de Unamuno, donde el filósofo propuso el concepto de “lo intrahistórico”, como una manifestación de la tradición a modo de sedimento de la historia. Esta distinción y el hecho de que haya diferentes tradiciones no debe llevar a engaño, pues en realidad señala
a algo común a todos, al “fondo del ser hombre mismo” que mostraría la dimensión ética a la que sería posible llegar a través de la intrahistoria. Como sigue señalando Martín Arias, finalmente para Unamuno lo intrahistórico resalta “la vida más oscura y humilde”, que será la clave que guiará mi análisis de Roma y la peripecia de la protagonista, Cleo
(Yalitza Aparicio), la humilde sirvienta cuyo personaje se basa en la persona real que cuidó del director en su infancia.

Alfonso Cuarón's film, Children of Men (2006), and Miru Kim's photographic series Naked City Spleen (2007) are essential to illustrate the causal process by which biopower accelerates—in the way that it fuses with late capitalistic tendencies—and transforms into the post-apocalyptic, the surplus of the recognizable, but unnameable " event " as considered by Žižek and Derrida on a global scale. As capitalism accelerates by means of technological and military advancement, it marks alterity in non-citizens as biological threat. There is always already the perception of imminent danger to the survival of the controlling structure. Neoliberal practices in late capitalism work as biopower in the societal body. The traumatic aftermath of this event can be observed in the film and the photographic series that are discussed in my article, both of which serve as case studies of how as late capitalism and biopower are bonded they become the source of communal and individual trauma.

Cet article propose une réflexion sur la théorie lacanienne de la représentation filmique du rapport sexuel. L’auteur se fonde sur la logique lacanienne de la sexuation et sur l’interprétation qu’en ont faite Joan Copjec et Slavoj Žižek pour analyser ce qu’il appelle le « cinéma masculin », en prenant notamment comme exemple le film Y tu mamá también (Et… ta mère aussi, 2011), d’Alfonso Cuarón. L’auteur considère que les conclusions de Laura Mulvey, qui a été la première à utiliser la psychanalyse comme arme politique pour contester la représentation phallocentrique des femmes dans le cinéma hollywoodien, étaient justes, non pas en ce qui concerne la production d’un « regard masculin », mais en ce qui a trait à la construction cinématographique de la jouissance masculine, qui est constitutive de la société. Il avance donc que ce n’est pas en créant un cinéma « alternatif » qu’on peut remettre en question l’idéologie dominante, mais plutôt en utilisant la théorie comme arme politique. C’est la pratique de la théorie qui politise le cinéma et le spectateur.

As we experience cinema in the 21st century and through feminist, psychoanalytic, and postmodern lenses, various representations of gender and sexuality have slowly seeped their way into our cultural library of film. One such film by Alfonso Cuarón seeks to explore these themes of masculinity and its representation/construction in a Mexican setting as a coming-of-age story saturated with sexuality and fantasy over an older woman. I will argue that one of the functions of Luisa in Alfonso Cuarón's Y Tu Mama Tambien is that of a conduit and vector for Julio and Tenoch’s homosexual desire for each other, as well as to aid their transformations into adulthood by being a symbol for the death of their childhoods. The film maps this journey and realization through the use of the road trip to the non-existent paradise beach. I plan to show this progression through the homosocial to the homosexual, and death of childhood, through the chronological points of the film that contribute to this realization.

Der Beitrag fokussiert Filmbilder (1.) und gibt Hinweise bzgl. ihres Bildungspotenzials (2.). Es folgen konzeptionelle (3.) und methodische Überlegungen (4.). Schließlich werden einige der Überlegungen mithilfe von Beispielen belegt (5.) und weitere mediendidaktische Hinweise zum Thema runden den Beitrag ab (6.).

Children of Men (Hijos del hombre o Niños del hombre) es un filme dirigido y escrito por Alfonso Cuarón. Está basado en la novela de Phyllips Dorothy James, publicado en 1992. La película fue producción del Reino Unido con Estados Unidos, estrenada en el primero el 22 de septiembre del 2006 y el 25 de diciembre en EUA. Tuvo bajas ganancias en taquilla en comparación con la inversión pero recibió una amplia aclamación de las criticas. Fue reconocida por sus logros en guionismo, cinematografía, dirección de arte y planos secuencia de acción innovadores. Nominada a tres premios de la Academia: Mejor guión adaptado, Mejor fotografía y Mejor montaje. En premios BAFTA gano Mejor fotografía y Mejor diseño de producción, y en Saturn Awars gano Mejor filme de ciencia ficción. El desarrollo de la película es en 2027, ligada a la ciencia ficción plantea un futuro distópico en que existe infertilidad humana en todo el mundo, la sociedad se siente angustiada y al borde de lo esperado. Presenta al Reino Unido como ultimo gobierno funcional pero hay una innumerable cantidad de inmigrantes ilegales, refugiados que de ser descubiertos son tratados de una forma atroz y expulsados del país. Después del asesinato del último joven, con tan sólo 18 años, la sociedad pierde la esperanza de que el ser humano tenga predecesores y por fin se acabe la especie. Se miran personas de más de 20 años, hay una ausencia total de niños que pone en desequilibrio la sociedad. También se observa que los recursos naturales han sido explotados sin consideraciones, es un ambiente triste que carece de tantas cosas, el mismo gobierno pone al alcance de los ciudadanos kits de suicidio. Es claro que la especie llego a un punto sin retorno, aún sin entender el porqué, la ciencia afirma las mujeres son infértiles sin razón, pueden ser los experimentos, la comida con transgénicos, sus acciones y exposición a la tecnología lograda, también se menciona que dentro de los años que comenzaron a darse cuenta de la infertilidad, mujeres que ya estaban embarazadas perdían a los bebés sin razón. La esperanza y fe de vivir sin vivir es clara, el hombre siempre le ha tenido miedo a morir, la historia nos lo muestra, se encuentran respuestas a un después de la muerte para seguir existiendo, se enfrascan en teologías o cualquier creencia que te permita vivir con esa seguridad, pero cuando ni si quiera se puede vivir en la vida, cuando se acaban estando en este plano, no sé puede esperar más de nada. Las sociedades luchando por vivir, clases sociales luchando por derechos, grupos buscando el perdón de Dios, los que se entregan a un nihilismo insospechado y aquellos que ya no tienen fe, hay unos activistas que refieren a sus derechos, libertad Children of Men Filme de Alfonso Cuarón. Flores Ruíz África A.

Although embedded in radically different historical and cultural contexts, the spectacular theatrical productions of the English Restoration and the present-day digital film industry provide a rich testing ground to explore the intersections of visual artifice with negotiations of the heroic. My paper analyses how these configurations of media, technologies and audiences interact with the (affective) modes of relatedness which determine heroic figurations as well as cultural concepts of the heroic. Using Dryden’s Conquest of Granada (1669) and Settle’s Empress of Morocco (1673) as case studies, the first part sets out to analyse how (competing) modes of heroic effect and audience response are negotiated, and how affective responses are tied to allocations of power. 21st-century cinema, and digital 3D in particular, is similarly characterized by paradigmatic shifts in media cultures and perceptual habits, and constantly operates on the boundaries of illusion. In a close reading of Cuarón’s Gravity (2013), I will analyse how the photorealistic and stereoscopic expansion of space as well as the intersection of image and narrative comes to unhinge the spectators’ position and inflects established tropes of heroic exceptionality.

Y tu mamá también (Alfonso Cuarón, 2001) y Perfume de violetas, nadie te oye (Marisa Sistach, 2001) suscriben la concepción del amor freudiana por una parte, para subrayar por otra la crisis de un paradigma de origen también freudiano según el cual quien posee el falo es un sujeto activo mientras que aquel que no lo posee es pasivo y en último caso objetualizado.

Nulla è tanto sacro da non poter essere riprogettato Nel suo testo Dopo il futuro, Franco Berardi detto «Bifo» riprende un episodio riguardante Steven Spielberg. Era il 1979 e il regista fece una profezia sul futuro della comunicazione. Secondo lui un giorno sarebbe avvenuta attraverso una connessione diretta dei nostri neuroni con delle onde elettromagnetiche capaci di influenzare l'umore e di produrre immaginazione. Nel 2013 Terry Gilliam ci mostrò qualcosa di molto simile con il suo The Zero Theorem-Tutto è venità. Nel film, Qoehn Leth-un hacker interpretato da Christoph Waltz-si ritrova dopo varie vicissitudini a sperimentare, nella chiesa sconsacrata in cui abita, una tuta che gli permette di entrare e uscire da una dimensione virtuale capace di incidere su di lui, sulle sue relazioni e sul reale. Solo che ad un certo punto la tuta lo trascina in una sorta di Rete Neurale che ha il sapore della profezia di Spielberg. Sempre sulla stessa scia, Bifo riprende la letteratura fantascientifica degli anni Ottanta, riferendosi principalmente allo scrittore Philip K. Dick e alla domanda che lo attanaglia: che cosa è il reale? Prima di andare avanti allora è il caso di fare una piccola digressione su cosa si intende con virtuale e con reale e su come si rapportano. Prendiamo ad esempio un altro film. Ne La via lattea di Luis Buñuel, in particolare nella scena del sogno dell'uccisione del Papa, che cosa avviene? Che il rumore dello sparo virtuale si sente/percepisce nell'attuale, creando una sensazione di spaesamento e turbamento, portando delle comparse a chiedersi che cosa fosse stato quello sparo. Per Deleuze le due dimensioni nelle quali si svolge lo scambio tra attuale e virtuale sono coesistenti, anche se si tratta di due dimensioni ontologicamente differenti: due tempi distinti che però risultano indiscernibili. In tal senso quella letteratura, quel cinema, diventano potenza di trasformazione del reale, produzione di immaginari capaci di farci camminare fuori dal nostro ambiente di riferimento. In Heroes, un altro testo relativamente recente, Bifo pone l'attenzione anche sull'immaginazione, descrivendola come quella facoltà che ci permette di andare oltre i limiti del nostro linguaggio-«i limiti del mio linguaggio significano i limiti del mio mondo» scriveva Wittgenstein nel Tractatus-e di utilizzare i frammenti immaginari raccolti dall'esperienza del passato per ridisegnare i confini e le forme, verso nuovi orizzonti e mondi mai visti. Quando ci si riferisce in questi termini al reale, non lo si intende come un reale già dato a priori, ma come un qui e ora tutto da costruire e da cui ripartire; un reale in cui l'utopia è un motore contingente al reale stesso, non una prospettiva futura da raggiungere. Questa è la grande

(/users/email-registration-mexcp4fiiz) Roma è ambientato nel 1971 ed è il film attraverso il quale Alfonso Cuarón ha ricostruito e messo in scena quella che potremo definire la "casa madre" del suo cinema. "Roma", difatti, è in origine il nome del quartiere borghese di Città del Messico dove si trovava l'abitazione in cui il regista, nato nel 1961, ha trascorso l'infanzia: assieme ai fratelli, la madre (Sofía: Marina de Tavira), la nonna e la bambinaia indigena-la "Libo" (Liboria Rodríguez) a cui è dedicato il film, interpretata da Yalitza Aparicio: Guardando, o riguardando, Roma, rimangono addosso a lungo tre aspetti: il primo è l'energia cinematografica di Cleo, la protagonista, che entra in scena lavando il pavimento del cortile di casa e man mano conquista una potenza di racconto quasi magica. Il secondo consiste nell'esperienza piena di cosa sia il cinema come linguaggio, dalla fotografia (un bianco e nero via via tagliato dal controluce o abbacinato dai raggi del sole) al lavoro della macchina da presa: carrelli laterali, riprese dal basso (come se a girare fosse un bambino inginocchiato), uso narrativo della profondità di campo. In Roma trionfa il cinema come scrittura delle immagini, dei suoni e perfino del silenzio-si canticchia spesso in Roma, ma non c'è una colonna sonora extradiegetica, eppure riusciamo a udire il rumore dell'acqua buttata a scroscio da un secchio, o dentro i cavalloni di un mare agitato, quasi lo udissimo per la prima volta. Infine, combinato coi primi due, il terzo aspetto che ci impressiona riguarda "Roma", autobiografia di un ricordo | Doppiozero https://www.doppiozero.com/

Alfonso Cuarón’s "Gravity" offers a feminist rejoinder to Stanley Kubrick’s science fiction epic "2001: A Space Odyssey." Where "2001" drew a line of ascent carrying man from a primitive savannah to space to “the Infinite,” "Gravity" starts with a woman’s body in space and follows it back to earth, re-orienting the religious coordinates of the sci-fi genre. Drawing on feminist philosophy and continental philosophy of religion, this presentation explores "Gravity’s" thematic inversion of "2001" as a repudiation of what Luce Irigaray calls the “male God of infinitude.”

Se ha discutido con frecuencia que la sociedad global supone nuevas lógicas de intercambio. Antes que sociedad de la diferencia, de consenso revisable y diversa opinión, se aprecia más bien una sociedad de la equivalencia, de disenso neutralizable y semejante expresión, según el punto de vista de varios críticos . Huelga decir que son todas estas tendencias advertidas en el desenvolvimiento del capitalismo temprano, cuando el valor de cambio se impuso sobre el valor de uso. De manera que, en esta sociedad de la equivalencia, las expresiones asemejadas se van acumulando, en lógica de sistema cerrado que suaviza aristas persiguiendo puntos de contacto, a veces interesantes, a veces forzados. Nada produce mayor desconcierto para (a)semejante economía simbólica que la cuenta pendiente, donde el intercambio es imposible o por ocurrir, sin fecha prevista. A tal efecto, el film Y tu mamá también (2001) del mexicano Alfonso Cuarón interesa por partida doble. Interesa por cómo negocia su espacio con el paradigma de producción globalizada de “cine latino”. Interesa también por cómo dispara el paradigma en varias direcciones, atensándolo de resonancia queer, hiriéndolo de "a-significancia" .

In Gravity (2013), Alfonso Cuarón introduced a fully three-dimensional sound design approach that was originally termed by Idrovo and Pauletto (2019) as ‘immersive point-of-audition’. More recently, in Netflix’s Roma (2018), Cuarón not only perfected such treatment of sound, but consolidated an audio-visual style that stands out for its capacity to enhance our sensation of ‘presence’ in the narrative world, a style that is referred here to as immersive continuity. Grounded on the spatiotemporal continuity of the long take, Cuarón’s immersive continuity allows sound objects to flow all around the 3-D space, and hence opens a giant window of opportunity for the exploitation of Dolby Atmos. Through an extensive analysis of Roma, this article describes the aesthetics of such audio-visual style, and beyond, it explores the methods and workflows that permitted Cuarón’s sound team to fully exploit sound three-dimensionality. Finally, I discuss the growing adoption of Netflix as one of the major challenges that the theatrical cinema industry has to face; and argue that embracing immersive continuity may be a powerful weapon for attracting audiences to a cinematic experience that cannot be found at home.

Bütünlüğün Roma'sı1 Quando fiam uti chelidon (Ne zaman kırlangıç gibi olacağım)-Ey Kırlangıç kırlangıç (T.S. Eliot) Pekala bütünlük kurulamıyor kabul. Göz açıp kapayıncaya kadar geçip giden yaşam neden hep dağılmak zorunda? Filmin henüz afişinden başlayan bir merkez noktası bu, dağılmayı önlemeli fakat ya o büyük harfli Tarih denilen şey nereye sürüklüyor bizi? Neye tanık oluyor, neleri toplayıp birleştiriyoruz? Alfonso Cuaron'un Roma'yı hatıralarını toplar gibi çekmesi bu soruları meşru kılıyor. Cuaron, hafızayı duvardaki çatlaklar gibi gördüğünü söylüyor, çatlaklar geçmişin yaraları, acılarıdır, ne kadar üzerini kapatsanız da o oradadır.1 Başlangıç noktası olarak bu çatlakları kabul etmeli ve bu sebeple filmin yarıklarına, ayrımlarına, geçirimsizliklerine, sönüp gidecek patlamalarına odaklanmalıyız. Filmdeki yangın, hafıza silen bir felaket ise, deprem de duvarı çatlatan en korkunç felaketlerden biri olmalı. Bunun yanında bir de tarihi, sınıfsal, kişisel felaketler var. Çatlaklar derinleşiyor. 2018 yılı zihnimin arka planında hala işleyen bu filmi bıraktı: Roma. Filmin en dikkat çekici yanı biçimi ve özellikle de "arka plan"da olup bitenlerdi. Neredeyse Son Umut (2006) filmiyle ortak hattı paylaşıyor gibi. Zizek'in Son Umut üzerine yaptığı değerlendirmenin Roma filmi için de geçerli olduğunu söyleyebiliriz. Filmler arasında yalnız biçimsel anlamda değil, tematik de bir ortaklık, hatta korkutucu bir devamlılık bile yakalayabiliriz.

“El cine se ha convertido en la nueva forma de educación” nos dice Robert McKee. Interesante que el analista de las formas cinematográficas promocione ahora una faceta. Su libro nuevo se llama Storynomics; como aprovechar el “storytelling” para vender.

Netflix, quien acaba de anunciar la mayor inversión a nivel mundial, 50 producciones en México, se convertirá en el centro de operaciones de los contenidos en español, conviertíendolo en el dueño del algoritmo que logra modificar estructuras psíquicas y emocionales para que los espectadores/consumidores le tengan miedo a quien ellos decidan.

La creatividad de latinoamérica es la nueva moneda de cambio en este nuevo orden donde así como los grandes imperios han explotado por siglos los recursos naturales de nuestras tierras aprovechando nuestra mano de obra, ahora usan nuestra creatividad para ellos vender contenidos ya no solo en nuestros territorios sino a nivel global.

Roma, es la punta de lanza de una maquinaria que lleva años de planeación; y hay mucho que aprender de ella.

Resumen:Ante la imposibilidad de imaginar el futuro, la humanidad proyecta en las imágenes del desastre las razones, las ideo-logías, los miedos y las utopías que laten en cada época. De allí que la impotencia histórica para transformar el mundo ha devenido, en muchos autores, extrañamente literal: la imposibilidad o la renuencia a engendrar. Disposición que no sólo atañe la supervivencia misma de la especie, sino que lleva en sí la rebelión frente a la coerción sistemática del deseo. Este trabajo pretende seguir esas imágenes (presentes en textos filosóficos, literarios y fílmicos) a fin de desentrañar la dicotomía entre el racional proyecto del Estado y el autodisolutorio éxtasis individual.

Palabras clave: fin del mundo, erotismo, Estado, antinatalismo, utopía.

Abstract: Faced with the impossibility of imagining the future, humanity projects in the images of the disaster the reasons, ideologies, fears and utopias that lives at in each period. That's why the historical impotence to transform the world has become, in many authors, strangely literal: impossibility or reluctance to breed. This provision not only concerns the survival of the species , but it carries within itself the rebellion against the systematic coercion of desire. This work aims to follow these images (present in philosophical, literary and cinematographic texts) in order to unravel the dichotomy between the rational project of the State and the individual ecstasy self-dissolving.

Keywords: End of the world, Eroticism, State, Antinatalism, Utopia.

This contribution reflects on contemporary film experience under the light of the encounter between the traditional semiological/aesthetic approach to narrative audiovisual media and some notions borrowed from embodied cognitive science. The theory of embodied cognition is studied with particular reference to a specific film genre and respective formal style, i.e. space-exploration film. As a case study, the opening sequence of Alfonso Cuarón’s Gravity is analysed to point out the dynamic disembodiment/re-embodiment, which is described as a strategy of spectator’s involvement.