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Lalala Essay

5968 words - 24 pages

El tiempo en el cine es diferente al tiempo real. Es un tiempo variable, no necesariamente lineal, que incluso se puede acelerar o invertir. Siguiendo a Gérard Genette, Aumont dice que existen tres tipos de relación entre la historia (universo narrado) y el relato (modalidad de presentación):Orden: Comprende las diferencias entre el desarrollo del relato y el de la historia ya que, a menudo, el orden de presentación de los acontecimientos dentro del relato no es, por distintas razones, el que les corresponde en su desarrollo;Duración: Se refiere a las relaciones entre la duración supuesta y el momento del relato que le está dedicada. Es raro que la duración del relato concuerde exactamente con la de la historia;Modo: Esta en relación con el punto de vista que conduce la explicación de los acontecimientos, que regula la cantidad de información dada sobre la historia por el relato.a. Relaciones entre el relato y la historiaSe pueden distinguir tres tipos de relación, que llamaremos, siguiendo a Gerard Genettem orden, duración y modo.El orden comprende las diferencias entre el desarrollo del relato y el de la historia: a menudo el orden de presentación de los acontecimientos dentro del relato no es, por razones de enigma, suspense o interés dramático, el que les corresponde en su desarrollo. Se trata entonces de un procedimiento de anacronía entre las dos series. Se puede también mencionar mas tarde, en elrelato, un acontecimiento anterior en la diégesis: es el caso del flash-back, pero también de cualquier elemento del relato que obliga a reinterpretar un acontecimiento que se había presentado o comprendido antes bajo otra forma.Este procedimiento de inversión es extremadamente frecuente en el caso de las películas con enigmas policíacos o psicológicos en los que se presenta "con retraso" la escena que constituye la razón del comportamiento de este o aquel personaje.En Recuerda, de Alfred Hitchcock (1945), sólo hasta después de muchas peripecias y numerosos esfuerzos el doctor enloquecido consigue acordarse del día en que, jugando y por culpa suya, su hermano pequeño quedo ensartado sobre una verja.En Forajidos, de Robert Siodmak (1946), casi todo el filme es un flashback, puesto que se nos muestra en los primeros minutos la muerte del héroe, antes de hacernos seguir la encuesta que buscará en su pasado las razones de su muerte.Por el contrario, se encuentran elementos del relato que tienden a evocar por anticipación un acontecimiento futuro de la diégesis. Es el caso del flash-forward, pero también de cualquier tipo de anuncio o de indicio que permite al espectador avanzar sobre el desarrollo del relato para figurarse un desenvolvimiento diegético futuro.El flash-forward o "salto hacia delante" es un...

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