Un diálogo semiótico esclarecedor entre cine y teoría social
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Date
2011
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Abstract
[es] El propósito de este artículo es desarrollar un análisis sociosemiótico del largometraje Safe (1995, EEUU, T. Haynes), en
tanto “fábula o ensayo icónico-simbólico” que nos sirve para
reflexionar sobre algún aspecto del mundo social y/o subjetivo—enfoque propuesto por el semiótico uruguayo Fernando
Andacht. Concretamente, analizaremos el film como un signo
de los efectos que concebiblemente podrían ejercer, en el
orden de la subjetividad, las propiedades estructurales de la
“modernidad reflexiva” (A. Giddens), enfocada en su aspecto
de “sociedad del riesgo” (U. Beck). El análisis procurará justificar la interpretación de Safe como una particular “ficción
de pérdida de la identidad” (P. Ricoeur). Esta interpretación,
por lo demás, arraiga en la siguiente tesis: el colapso vital
que sufre el personaje de la historia sería consecuencia
de la disolución de su “imagen corporal”. Esta disolución es
entendida como efecto de una cierta vivencia del mundo,
determinada, a su vez, por la mediación de las instituciones
y los significados hegemónicos de la “sociedad del riesgo”.
Adelantamos que, por cuanto la propuesta de Andacht se
basa en la semiótica pragmática de C. S. Peirce, incluimos en
el artículo una sección consagrada a bosquejar un esquema
elemental de este complejo sistema teórico
[en] The purpose of this paper is to develop a sociosemiotic analysis of the film Safe (1995, USA, T. Haynes), as an “iconic-symbolic fable or essay” that helps us reflect on some aspect of the social and/or subjective world—an approach proposed by Uruguayan semiotician Fernando Andacht. Specifically, we analyze the film as a sign of the effects that the structural properties of “reflexive modernity” (A. Giddens), focused on its aspect of “risk society” (U. Beck), could conceivably bear on the domain of subjectivity. The analysis will seek to justify the interpretation of Safe as a particular “fiction of the loss of identity” (P. Ricoeur). This interpretation, on the other hand, is based on the following thesis: the vital collapse suffered by the character of the story would result from the dissolution of her “body image”. This dissolution is understood as an effect of some particular experience of the world determined, in turn, by the mediation of the institutions and hegemonic meanings of the “risk society”. We anticipate that, as Andacht’s proposal draws on C. S. Peirce’s pragmatic semiotics, the paper includes a section outlining a basic scheme of this complex theoretical system
[en] The purpose of this paper is to develop a sociosemiotic analysis of the film Safe (1995, USA, T. Haynes), as an “iconic-symbolic fable or essay” that helps us reflect on some aspect of the social and/or subjective world—an approach proposed by Uruguayan semiotician Fernando Andacht. Specifically, we analyze the film as a sign of the effects that the structural properties of “reflexive modernity” (A. Giddens), focused on its aspect of “risk society” (U. Beck), could conceivably bear on the domain of subjectivity. The analysis will seek to justify the interpretation of Safe as a particular “fiction of the loss of identity” (P. Ricoeur). This interpretation, on the other hand, is based on the following thesis: the vital collapse suffered by the character of the story would result from the dissolution of her “body image”. This dissolution is understood as an effect of some particular experience of the world determined, in turn, by the mediation of the institutions and hegemonic meanings of the “risk society”. We anticipate that, as Andacht’s proposal draws on C. S. Peirce’s pragmatic semiotics, the paper includes a section outlining a basic scheme of this complex theoretical system
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Keywords
Cine, Semiótica, Teoría social, Identidad, Cinema, Semiotics, Social theory, Identity