Publication: Cuerpos en movimiento: experiencias cinestésicas en el cine de acción hongkonés
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2016-12
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2016-12-14
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Abstract
La presente tesis se inscribe en el ámbito de los estudios
cinematográficos interesados por la comprensión de la experiencia fílmica,
especialmente por el modo en que la fruición cinematográfica puede inducir
determinadas sensaciones corporales. En ella se reflexiona y exploran
diferentes vías por las que el cine narrativo es capaz de desencadenar
sensaciones cinestésicas en el cuerpo de su espectador, es decir, sensaciones
de automoción o movimiento corporal propio, con las que las narraciones
cinematográficas hacen partícipe a los espectadores de los movimientos
emocionales, corporales y audiovisuales que ponen en escena.
Para ello, desde el punto de vista teórico se aprovechan los postulados
de algunos autores formalistas clásicos, con Sergei M. Eisenstein a la cabeza, y
de dos corrientes epistemológicas contemporáneas, la teoría cognitiva y la
teoría fenomenológica, que a pesar de sus diferencias se muestran igualmente
interesadas por la implicación corporal del espectador durante el
audiovisionado fílmico, cuestión que la primera explora atendiendo a los
mecanismos psicofícos involucrados y la segunda privilegiando las experiencias
subjetivas resultantes. Haciendo converger los presupuestos de ambas
corrientes, en sí profundamente complementarias, en los siguientes capítulos
se desarrollan una serie de marcos teóricos que pretender describir cuatro vías
–la emoción, la empatía corporalizada, la sinestesia y la atención– por las que el
cine es capaz de producir sensaciones cinestésicas en su espectador, en sí
fenómenos de difícil aprehensión, que las extensas elucubraciones teóricas
aquí espuestas se espera ayuden a capturar y entender mejor.
Con el propósito de ejemplificar el funcionamiento concreto de dichos
mecanismos, en cada sección se aplican las conclusiones teóricas previas al
estudio del cine de acción hongkonés de los ochenta y noventa. Concretamente
a una serie de obras dirigidas por Jackie Chan, John Woo y Tsui Hark, aquí
sometidas a examen para explicar su eficacia como inductores de sensaciones
cinestésicas, lo que consiguen no solo explotando con esmero cada una de las
vías descritas, sino mediante su uso combinado. Un examen en el que se presta
atención por igual a las estrategias estéticas empleadas para activar dichos
mecanismos psicofísicos, al contexto industrial y cultural en el que éstas surgen
y a las experiencias subjetivas que desencadenan.
Por último, aunque figura al comienzo, dado el interés prestado hacia el
cine de acción, el trabajo abre con una extensa sección en la que se caracteriza
dicho género en general y la producción hongkonesa en particular, prestando
en ambos casos especial atención a la dimensión corporal de este cine. Una
caracterización que se acompaña de un bosquejo de su evolución histórica en
Hollywood y Hong Kong, con el fin de introducir al lector en unos productos y
unas prácticas que se han demostrado insaciables en su deseo de mover al
espectador.
This thesis falls within the scope of film studies interested in the comprehension of the film experience, especially how films can induce certain bodily sensations. In the text that follows we examine and explore different ways by which narrative cinema is capable of triggering kinesthetic sensations in the body of the viewer, i.e., feelings of automotion or body movement, with which the narratives request the participation of the viewer with the emotional, physical and visual movements staged on screen. For this aim, from a theoretical perspective we part from the postulates of some classic formalist authors, with Sergei M. Eisenstein at the head, and two contemporary epistemological currents, cognitive theory and phenomenological theory, that despite their differences show a common interest in the involvement of the body of the spectator with the film during its enjoyment, an issue that the first school of thought explores paying attention to the psychophysical mechanisms involved, and the second to the subjective experiencies induced. Combining the postulates of both schools of thought, already deeply complementary, the following chapters expound four theoretical frameworks that describe four routes –emotion, embodied empathy, synesthesia and corporeal attention– throught whitch films are able to produce kinesthetic sensations on its viewers, itself a difficult phenomena to apprehend, that this extensive theoretical frameworks should help to capture and understand. In order to exemplify how these mechanisms work, in each section we apply the prior theoretical conclusions to the study of Hong Kong action films of the eighties and nineties. Specifically a series of works directed by Jackie Chan, John Woo and Tsui Hark, here under review to explain its effectiveness as inducers of kinesthetic sensations, what they achieve not only exploiting carefully each of the routes described, but also comining them. A test that pays equal attention to the aesthetic strategies used to activate these psychophysical mechanisms, the industrial and cultural context in which they arise and the subjective experiences that they trigger. Finally, although it figures at the beginning, given the interest shown towards action films, the work opens with a lengthy section in which we characterize the genre in general and the Hong Kong production in particular, paying in both cases special attention the corporeal dimension of this kind of films. A characterization that is accompanied by a sketch of its historical evolution in Hollywood and Hong Kong, in order to introduce the reader to some products and practices that have been proven insatiable in their desire to move their viewers.
This thesis falls within the scope of film studies interested in the comprehension of the film experience, especially how films can induce certain bodily sensations. In the text that follows we examine and explore different ways by which narrative cinema is capable of triggering kinesthetic sensations in the body of the viewer, i.e., feelings of automotion or body movement, with which the narratives request the participation of the viewer with the emotional, physical and visual movements staged on screen. For this aim, from a theoretical perspective we part from the postulates of some classic formalist authors, with Sergei M. Eisenstein at the head, and two contemporary epistemological currents, cognitive theory and phenomenological theory, that despite their differences show a common interest in the involvement of the body of the spectator with the film during its enjoyment, an issue that the first school of thought explores paying attention to the psychophysical mechanisms involved, and the second to the subjective experiencies induced. Combining the postulates of both schools of thought, already deeply complementary, the following chapters expound four theoretical frameworks that describe four routes –emotion, embodied empathy, synesthesia and corporeal attention– throught whitch films are able to produce kinesthetic sensations on its viewers, itself a difficult phenomena to apprehend, that this extensive theoretical frameworks should help to capture and understand. In order to exemplify how these mechanisms work, in each section we apply the prior theoretical conclusions to the study of Hong Kong action films of the eighties and nineties. Specifically a series of works directed by Jackie Chan, John Woo and Tsui Hark, here under review to explain its effectiveness as inducers of kinesthetic sensations, what they achieve not only exploiting carefully each of the routes described, but also comining them. A test that pays equal attention to the aesthetic strategies used to activate these psychophysical mechanisms, the industrial and cultural context in which they arise and the subjective experiences that they trigger. Finally, although it figures at the beginning, given the interest shown towards action films, the work opens with a lengthy section in which we characterize the genre in general and the Hong Kong production in particular, paying in both cases special attention the corporeal dimension of this kind of films. A characterization that is accompanied by a sketch of its historical evolution in Hollywood and Hong Kong, in order to introduce the reader to some products and practices that have been proven insatiable in their desire to move their viewers.
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Keywords
Cine hongkonés, Cine chino, Cine de acción, Experiencia fílmica, Cinestesia, Hong Kong Cinema, Action Cinema, Kinesthesia