Mourning the Self: Treatment of the Unrepresentable Dimension of the Reality of Death in Cinema
Our research called “Melancholy and Mourning” deals with issues related to the representation of self-mourning in the cinema. Indeed, films ofgreat aesthetics deal with the apocalypse and are at the origin of contemporary philosophical issues. What do these directors want to show when theylook at th...
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| Formato: | Artículo revista |
| Lenguaje: | Español |
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Centro de Investigaciones y Estudios sobre Cultura y Sociedad
2020
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| Acceso en línea: | https://revistas.unc.edu.ar/index.php/eticaycine/article/view/29191 |
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I10-R10-article-291912020-07-08T15:31:29Z Mourning the Self: Treatment of the Unrepresentable Dimension of the Reality of Death in Cinema Melancolía y duelo. El duelo de sí mismo: tratamiento de la dimensión irrepresentable de lo real de la muerte en el cine Benhaim, Michèle Broda, Vladimir Melancholy Mourning Representation Unrepresentable Aesthetics Cinema Melancolía Duelo Representación Irrepresentable Estética Cine Our research called “Melancholy and Mourning” deals with issues related to the representation of self-mourning in the cinema. Indeed, films ofgreat aesthetics deal with the apocalypse and are at the origin of contemporary philosophical issues. What do these directors want to show when theylook at the painful question of the end, of death, of the irreversibility of time? Why do they all counterbalance the points of horror contained in thisdeadly dead end with sublime images of beauty ? Does this mean that the death of one, of all, cannot be represented? Or rather, more profoundly,does this mean that the death announced cannot be apprehended? However, Lars Von Trier and Xavier Dolan unmask in a certain way this “real” ofthe announced death or the shortage of time, notably through Melancholia (2011) and Juste La Fin Du Monde (2016). La investigación que denominamos “Melancolía y Duelo” afronta el desafío de representar el duelo de sí mismo en el cine. En efecto, varias películas de gran calidad estética tratan sobre el apocalipsis y plantean problemáticas filosóficas contemporáneas. ¿Qué pretenden mostrar sus directores al plantear la dolorosa pregunta sobre el final, la muerte, la irreversibilidad del tiempo? ¿Por qué razón compensan los horrores de ese impasse mortífero con imágenes de una belleza que roza lo sublime? ¿Podríamos inferir que la muerte de uno o de todos no se representa? O indagando más profundamente, ¿podríamos concluir que una muerte anunciada no se puede aprehender? Freud ya decía que “la muerte propia es, desde luego, inimaginable […]. En lo inconsciente, todos nosotros estamos convencidos de nuestra inmortalidad”. Sin embargo, tanto Lars Von Trier como Xavier Dolan, a su manera, ponen al descubierto ese “real” de la muerte anunciada o del tiempo regresivo, en particular en Melancholia (2011) y Solo el fin del mundo (2016). Centro de Investigaciones y Estudios sobre Cultura y Sociedad 2020-07-02 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion application/pdf https://revistas.unc.edu.ar/index.php/eticaycine/article/view/29191 Ética y Cine Journal; Vol. 10 Núm. 1 (2020): Ética, Estética y Política; 9-27 2250-5415 2250-5660 10.31056/2250.5415.v10.n1 spa https://revistas.unc.edu.ar/index.php/eticaycine/article/view/29191/30012 Derechos de autor 2020 Ética y Cine https://creativecommons.org/licenses/by-sa/4.0/ |
| institution |
Universidad Nacional de Córdoba |
| institution_str |
I-10 |
| repository_str |
R-10 |
| container_title_str |
Revistas de la UNC |
| language |
Español |
| format |
Artículo revista |
| topic |
Melancholy Mourning Representation Unrepresentable Aesthetics Cinema Melancolía Duelo Representación Irrepresentable Estética Cine |
| spellingShingle |
Melancholy Mourning Representation Unrepresentable Aesthetics Cinema Melancolía Duelo Representación Irrepresentable Estética Cine Benhaim, Michèle Broda, Vladimir Mourning the Self: Treatment of the Unrepresentable Dimension of the Reality of Death in Cinema |
| topic_facet |
Melancholy Mourning Representation Unrepresentable Aesthetics Cinema Melancolía Duelo Representación Irrepresentable Estética Cine |
| author |
Benhaim, Michèle Broda, Vladimir |
| author_facet |
Benhaim, Michèle Broda, Vladimir |
| author_sort |
Benhaim, Michèle |
| title |
Mourning the Self: Treatment of the Unrepresentable Dimension of the Reality of Death in Cinema |
| title_short |
Mourning the Self: Treatment of the Unrepresentable Dimension of the Reality of Death in Cinema |
| title_full |
Mourning the Self: Treatment of the Unrepresentable Dimension of the Reality of Death in Cinema |
| title_fullStr |
Mourning the Self: Treatment of the Unrepresentable Dimension of the Reality of Death in Cinema |
| title_full_unstemmed |
Mourning the Self: Treatment of the Unrepresentable Dimension of the Reality of Death in Cinema |
| title_sort |
mourning the self: treatment of the unrepresentable dimension of the reality of death in cinema |
| description |
Our research called “Melancholy and Mourning” deals with issues related to the representation of self-mourning in the cinema. Indeed, films ofgreat aesthetics deal with the apocalypse and are at the origin of contemporary philosophical issues. What do these directors want to show when theylook at the painful question of the end, of death, of the irreversibility of time? Why do they all counterbalance the points of horror contained in thisdeadly dead end with sublime images of beauty ? Does this mean that the death of one, of all, cannot be represented? Or rather, more profoundly,does this mean that the death announced cannot be apprehended? However, Lars Von Trier and Xavier Dolan unmask in a certain way this “real” ofthe announced death or the shortage of time, notably through Melancholia (2011) and Juste La Fin Du Monde (2016). |
| publisher |
Centro de Investigaciones y Estudios sobre Cultura y Sociedad |
| publishDate |
2020 |
| url |
https://revistas.unc.edu.ar/index.php/eticaycine/article/view/29191 |
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