SciELO - Scientific Electronic Library Online

 
 número43LOS IDIOTISMOS DE LA MODERNIZACIÓN SIN MODERNIDAD: UN ACERCAMIENTO A LA DINÁMICA URBANA DE PRINCIPIOS DE SIGLO XX EN COLOMBIA A PARTIR DE SUENAN TIMBRES DE LUIS VIDALESLA MEMORIA INDÍGENA EN CAUTIVERIO FELIZ Y RAZÓN INDIVIDUAL DE LAS GUERRAS DILATADAS DEL REINO DE CHILE DE FRANCISCO NÚÑEZ DE PINEDA Y BASCUÑÁN índice de autoresíndice de assuntospesquisa de artigos
Home Pagelista alfabética de periódicos  

Serviços Personalizados

Journal

Artigo

Indicadores

Links relacionados

  • Em processo de indexaçãoCitado por Google
  • Não possue artigos similaresSimilares em SciELO
  • Em processo de indexaçãoSimilares em Google

Compartilhar


Alpha (Osorno)

versão On-line ISSN 0718-2201

Resumo

MONTERO SANCHEZ, David. Archeology of the image-network: Dialogic subjectivity in Chris Marker’s Level Five. Alpha [online]. 2016, n.43, pp.93-109. ISSN 0718-2201.  http://dx.doi.org/10.4067/S0718-22012016000200007.

This article analyzes the presence of a dialogic principle in the way subjectivities are constructed within Chris Marker’s Level Five, with a view to critically counteract the notion of Marker’s films as forms of the self-portrait. Through the Bakhtinian concept of “ideological becoming”, special attention is paid to the role played by new technologies of information and communication in the processes of re- accentuation which determine how subjectivities evolve in the context of the film. The concept of an “image-network” attempts to highlight the development of a new passage of the image towards a mode of representation dominated by a principle of exchange, whose importance is echoed in the film through the analysis of issues ranging from the dichotomy between memory and history to the relevance of documentary image for reality construction.

Palavras-chave : Chris Marker; Dialogism; Re-accentuation; Documentary; Ideological becoming.

        · resumo em Espanhol     · texto em Espanhol     · Espanhol ( pdf )

 

Creative Commons License Todo o conteúdo deste periódico, exceto onde está identificado, está licenciado sob uma Licença Creative Commons