Publication: ¿Sueñan los androides con ovejas eléctricas? La memoria cinematográfica como dispositivo del poder
Authors
Burgos Mazas, José Miguel
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Publisher
Servicio de Publicaciones de la Universidad Complutense de Madrid
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DOI
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info:eu-repo/semantics/article
Description
Abstract
El presente texto se estructura en función de tres hipótesis fundamentales. La primera afirma que la memoria es uno de los dispositivos que con más in-fluencia regula la vida contemporánea. El cine, como medio que la promocio-na, extiende esta dinámica consiguiendo formar hábitos de conducta que no por casualidad vienen a coincidir con hábitos de consumo. La segunda ahonda en este mecanismo y afirma que su explicación más profunda se encuentra en los diferentes modos de reducir y neutralizar la fuerza de lo extemporáneo y lo anacrónico en el presente. Al tratar de representar la fuerza de este ele-mento intempestivo que Giorgio Agamben localiza en la ninfa, los dos casos derivados de esta inercia, la Gestalt y la imagen capitalista, lo convierten en negación, es decir, en una amenaza. Finalmente, la tercera sugiere que de darse por verosímiles las dos tesis anteriores, la promoción existencial e insti-tucional de la memoria terminará coincidiendo con su contrario
This text is structured according to three fundamental assumptions. The first say that memory is a device that regulates most influential contemporary life. The film, touted as a way that extends this dynamic, form behavior habits that not by chance coincides with consumption habits. The second delves into this mechanism and say that its deeper explanation lies in the different ways to reduce and neutralize the power of the anachronism in the present. In trying to represent the strength of this element that Giorgio Agamben locates in the nymph, the two cases arising out of this inertia, Gestalt and capitalist image, make it their denial, that is, a threat. Finally, the third suggests that the two previous thesis can bring existential and institutional memory with its opposite.
This text is structured according to three fundamental assumptions. The first say that memory is a device that regulates most influential contemporary life. The film, touted as a way that extends this dynamic, form behavior habits that not by chance coincides with consumption habits. The second delves into this mechanism and say that its deeper explanation lies in the different ways to reduce and neutralize the power of the anachronism in the present. In trying to represent the strength of this element that Giorgio Agamben locates in the nymph, the two cases arising out of this inertia, Gestalt and capitalist image, make it their denial, that is, a threat. Finally, the third suggests that the two previous thesis can bring existential and institutional memory with its opposite.
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Citation
Res publica: revista de filosofía política nª 28,(2012)
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