Publication: La imagen no-tiempo como retorno de la barbarie
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2017
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Abstract
Nuestro propósito es plantear el origen del régimen totalitario alemán. Para ello queremos
remontarnos al huevo de la serpiente, al punto de no retomo sobre el golpe de lo real con la
Shoah. Si Auschwitz sigue operando como una dolorosa herida abierta en nuestra conciencia
social es, sobre todo, por su compleja relación con lo histórico. A pesar de su diferencia respecto
a otras barbaries, a pesar de lo aberrante de su contorno y a pesar, en definitiva, de su
posible condición indescifrable, la Shoah forma parte de una cadena de acontecimientos con
los que está obligado a establecer unos vínculos de necesidad. Con los eslabones que van antes
y con los que van detrás; solo así podemos acercarnos al agujero negro de la barbarie si n
caer en la fetichización de Auschwitz o la fascinación por el abismo.
A través de La cinta blanca (2009) de Michael Haneke queremos abordar el horror a partir de
la comprensión del antes y el después de la catástrofe, qué la hizo posible y qué perdura todavía
hoy. Es por ello que en ella se teje una tupida red de elementos referenciales cuyas puntadas
y costuras, trazados y simetrías, le permite afianzar la tesis que levanta contra toda pereza
intelectual, contra toda explicación consoladora del desastre. El pasado actuó en el presente de
la barbarie, argumenta el filme de Haneke: la rigidez de las estructuras feudales de la Alemania
decimonónica se convirtió en el caldo de cultivo de las futuras generaciones nazis. Pero el
presente de la barbarie también opera en el futuro de nuestra realidad contemporánea. Ese es,
creemos, el fin último de la película de Haneke. A través de la metonimia y la metáfora parece
invocamos a nuestro propio momento histórico.
Our purpose is to raise the origin of the German totalitarian regime. Por this we go back to the egg of the snake, the point of no retum on the stroke of the real with the Shoah. lf Auschwitz continues to operate as a painful open wound in our social consciousness is, above all, his complex relationship with the historical. Despite their difference from other barbarities, despite the aberrant its contour and although ultimately their possible indecipherable condition, the Shoah is part of a chain of events with which he is obliged to establish links need. With the links that come before and those who are behind; the only way we can approach the black hole of barbarism without falling into the fetishization of Auschwitz or the fascination of the abyss. Through The White Ribbon (2009) by Michael Haneke want to address the horror from understanding before and after the catastrophe, which made it possible and what still endures today. That is why it is woven a dense network of reference elements whose stitches and seams, paths and symrnetries, lets you consolidate the thesis that stands against all intellectual laziness, against all consoling explanation of the disaster. Last acted in this barbarism, argues Haneke's film: the rigidity of the feudal structures of nineteenth-century Germany became the breeding ground of future generations Nazis. But this barbarism also operates in the future of our contemporary reality. That is, we believe, the ultimate purpose Haneke film. Through metonymy and metaphor it seems invocate our own historical moment.
Our purpose is to raise the origin of the German totalitarian regime. Por this we go back to the egg of the snake, the point of no retum on the stroke of the real with the Shoah. lf Auschwitz continues to operate as a painful open wound in our social consciousness is, above all, his complex relationship with the historical. Despite their difference from other barbarities, despite the aberrant its contour and although ultimately their possible indecipherable condition, the Shoah is part of a chain of events with which he is obliged to establish links need. With the links that come before and those who are behind; the only way we can approach the black hole of barbarism without falling into the fetishization of Auschwitz or the fascination of the abyss. Through The White Ribbon (2009) by Michael Haneke want to address the horror from understanding before and after the catastrophe, which made it possible and what still endures today. That is why it is woven a dense network of reference elements whose stitches and seams, paths and symrnetries, lets you consolidate the thesis that stands against all intellectual laziness, against all consoling explanation of the disaster. Last acted in this barbarism, argues Haneke's film: the rigidity of the feudal structures of nineteenth-century Germany became the breeding ground of future generations Nazis. But this barbarism also operates in the future of our contemporary reality. That is, we believe, the ultimate purpose Haneke film. Through metonymy and metaphor it seems invocate our own historical moment.
Description
Actas del V Congreso Internacional de Historia y Cine celebrado en la Universidad Carlos III de Madrid del 5 al 7 de Septiembre de 2016.
Keywords
Cine, Cine histórico, Microhistoria, Macrohistoria, Metonimia, Violencia, Educación, Ley del Padre, Junker, Microhistory, Macrohistory, Metonymy, Violence, Education, Law of the Father
Bibliographic citation
V Congreso Internacional de Historia y Cine: Escenarios del cine histórico (V, 2016, Getafe). Gloria Camarero Gómez, Francesc Sánchez Barba (eds.). Getafe: Universidad Carlos III de Madrid, Instituto de Cultura y Tecnología, 2017, pp. 1351-1368