Suspense | Alfred Hitchcock | Science

RAE Suspense: Expectación impaciente o ansiosa por el desarrollo de una acción o suceso, especialmente en una película cinematográfica, una

obra teatral o un relato. Peripecia: En el drama o en cualquier otra composición análoga, mudanza repentina de situación debida a un accidente imprevisto que cambia el estado de las cosas. - Accidente de esta misma clase en la vida real. Agnición: En el poema dramático, reconocimiento de una persona cuya identidad se ignoraba.

Ejemplo del examen: Suspenso en el examen es que yo tome o no el examen sé las preguntas pero me concentro en cómo el resot del salón o un amigo en aprticular reacciona ante cada o todas las preguntas. Suspense no es lo mismo a misterio, expectativa o sorpresa (¿) Suspenso solo se da una vez, no vuelve a pasar (por el conocimiento) 10 pag. Mínimo Area problemática (1er ejercicio) El problema El tema Título Objetivos Fundamentación (xq es útil) Problema (limites)

Y aun así. Artaud El lenguaje cinematográfico – Joaquim Romaguera Para la italnia Della Fornare. fantecientífico. musical. histórico. apacionado. thriller y catastrófico Cine dramático: puro. bélico. negro.Originalidad Hipotesis Metodología Antecedente (3 o 5) Los asesinatos de Hitchcock – Peter Conrad El género inventado por Hitchcock tenía su propia e exclusiva modernidad. mítico. terrorífico. 105p. . 46p. un género cinematográfico está constituido por una seria de filmes que presentan características análogas (…) para ella un subgénero está constituido por una serie de films que presentan características comunes en la trama. espionaje. sentimental. policálo. El thriler extrae sus efectos emocionales de nuestros temores innatos. lo que nos asusta es la voltatil realidad en la que habitamos –cuya permanencia ya no está respaldada por Dios-. Cine de aventura: western. en los personajes y en la ambientación. y los seres irracionales con la que tenemos de lidiar. Peligro=Teatro de la cueldad A. extraer un refinado placel del miedo. mitológico. aventura pura.

la gestualidad es la haza mayor con que juegan los acores. . En el primer aspecto. a sus sueños. (…) El expresionismo procura poner de relieve el latir del ser humano. como su nombre ya deja entrever. aunque si pueden rastrearse huellas indelebles en muchos títulos que no son ni pretenden ser surrealistas. y donde “fondo” y “forma” alcanzan su plenitud para configurar una obra manifiesto del movimiento expresionista en el campo del cine. su visceralidad. la realidad objetiva se reduce considerablemente en beneficio de la visión personal. en el segundo aspecto (…) Ambos aspectos se funden o intentan comulgar para reforzar los estados de cinismo y las situaciones que se quieren transmitir. los surrealistas de aquellos años prestaron una cierta atención hacie el cine. la ambientación decorativa. al tiempo que la distorsión o reforzamiento formal se acentúa. más bien restringida en puridad. su misticismo (…) 72p. En el expresionismo sobresalen. Surrealismo Europeo En fin. místicas. por una parte. a su rebelión e inconformismo. exagerando sus movimientos con el fin de transmitir sentimientos y emociones ocultas. como medio a través del cual dar rienda suelta a su subconsciente. líricas o angustiosas. la filmografía surrealista no es abundante. 72p. El gabinete del doctor Caligari es su cima. 72p. por lo que emerge la experiencia o vivencia interior del artista a través de formas agresivas. y se expresa más la emoción que la descripción de situaciones. predomina el sentimiento sobre el pensamiento. el color se enaltece por encima de la línea. A pesar de ello. 71p. y por la otra. la forma interpretativa.EL gabinete del doctor Caligari “cine de cámara” o “Kammerspielfilm” Expresionismo Alemán En el expresionismo.

a veces incluso descifrar significados varios. . Vertigo de Hitchcock. 75p. son parte de la materia prima empleada en estas obras.W. Griffith. por fin. but it is also probably one of its immediate causes. 32p. Everything you alwasys wanted to know about lacan but were afraid to ask hitchcock – edited S. many people would choose D. como la escena del sueño diseñada por Salvador Dalí en 1945 para el film Recuerda de Alfred Hitchcock. Pascal Bonitzer Asked to name the inventor of suspense in the cinema. pero que confrontada permiten descifrar significados varios. la representación onírica y las evocaciones de idea en apariencia sin sentido. de peripecia (peripéteia) o reconocimiento (anagnórisis).pero que incluyen algún fragmento claramente surreal. De Aristóteles a Woody Allen – Pedro L. En una sola peripecia y un doble reconocmiento –uno falso y otro autpentico. el subconsciente. cuya insinuación y posterior aplazamiento crea el suspense. 75p. Zizek Hitchcockian Suspense. por ejemplo. El sueño. a veces incluso contradictorios. (…) 15p.se basa. Cano Hablar. sería enumerar toda la historia del cine. hoy tan admiradas y que tanto estupor causaron en su día. Suspense is in fact produced by editing. que dan paso al nudo y desenlace.

began to stay more or less still. 16p. which habitually confused with the so called “Koulechov effect”. the Moszhokin experiment. is. the audience may wonder whether the later will arrive in time to prevent the time. According to Edgar Mortin (Les Stars). This is. 16p. What was involved was in some way a third stage. against one of a car racing along a road in a cloud of dust. whether it is in act logically feasible or merely dictates by the morality of the drama. however. revives and sets going? I would hazard the response that this object. whose films ushered in the age of close-ups and editing. trough the editing of parallel actions. (…) What. through the face. generally what happens. Hitchcock often recalled that he would keep the face neutral. so that its powers might be delegated to editing alone. a reduction of acting to its zero degree. then. the cinema of terror or of anxiety still depends upon the principle of editing. give or take two or three years (1918-19). to the auteur. Its impact depended upon the immobility of the actor’s face. is the object that this anxiety or suspense releases.If one shows an image of a knife approaching a bared throat. The turning point came with Griffith. because of its characteristic malice. It is not irrelevant to nothe that it was durin approximately the same period. “through the top”. 17p. the gaze. which benefited staging and editing and was a crucial to establishing the law of suspense. that Kouleshov made the most famous of his experiments. Gesture. concentration (haragei) and neutrality would thus represent three stages in a progressive domestication of the actor’s body. . instead of gesticulating wildly. which emerged at the same time as the close-up was discovered. To a great extent. it was around 1915-20 that actors. 15p. upon its “expressive neutrality” when seen in close-up.

of the function of the gaze laid bare by crime (…) 18p. as the “Cassandra complex”. The entire sequence of events. (…) This is how fiction is introduced.Hitchcock always used to say that the more successful the villain. 18p. Such is the function of crime in Hitchcock’s films. 20p. at least as far as narrative is concerned. the assumption being that they do not question it. very little is required. It is sufficient to announce. even humdrum and unthinking. murder and crime have meaning only through the proximity of a gaze. Hitchcock’s films can therefore work only if a natural order is presupposed. for. even one of the Lumiere brothers’ films could be “Hitchcockized” 18p. a catastrophic event affecting the lives of characters in the film. by introducing a stain which precipitates a gaze and so brings about a fiction. For crime drives both the natural order of things and the natural order of cinema off course. unfold from that point. the better the film. (…) The weight of death.) From this point of view. Everything is proceeding normally. until someone notices that an element in the whole. where staging is concerned. in Bacherlardian terms. as Godard has observed – actually with reference to Hitchcock – it is the gaze which creates fiction. . because of its inexplicable behavior. Evil itself is a stain. according to routines that are ordinary. is a stain. For Hitchcockian suspense to arise. All Hitchcock has done in his films is to make the best possible use. by means of some artifice or other. 19p. (this might be described.

the more it is liable to become a disturbing or uncanny. Hitchcock systematically opposes suspense to surprise. Suspense. The film’s movement invariably proceeds from landscape to stain from overall shot to close-up. The perverse element. familiar or conventional. depends upon the emphasis which the staging places upon the progressive contamination. and in then charting the outcome. The essence of Hitchcockian suspense is eroticism. and Hithcockian editing is an erotic editing. the anormaly and the stain which precipitate and justify the marvels of staging. 23p. and this movement invariably prepares the spectator for the event. Scenario and staging consist merely in constructing a natural landscape with its perverse element. by contrast with the accelerated editing of races and chases. Sex is indeed the object of suspense . do not function only in the domain of crime and politics. in spite of the censor.Hitchcockian narrative obeys the law that the more a situation is somewhat a priori. and so on. He prides himself not so much on directing the actors – since he asks of his actor merely that they remain “neutral”. Yet one does not represent sex by representing coupling. and what interests him in couples is. Hitchcock makes films about the couple. or what he terms love “at work”. inversion or fragmentation. coupling. so that he can then edit a scene. by employing such procedures as metaphor. more specifically. The staging and editing of the suspense serve to draw the audience’s attention to the perverse element. a neutrality which he in fact takes some pleasure in testing by introducing postures which are frequently difficult. How is one to show love “at work”? In what way can one show coupling? Critics have emphasized how. once one of its constituent element begins to “turn against the wind”. but also in that of erotism. if not acrobatic – as on directing the audience. Hitchcock often represented sex on the screen. As is well known. the progressive or sudden perversion of the original landscape.

Suspense is thus indeed achieves through editing. makes his staging of inestimable importance.in Hitchcock’s best films. The remarkable formal invention precipitated and polarized by this structure.Mladen Dolar Why would the anticlimax be produced by an event that was entirely expected and serves as the very basis of suspense? The expectation is then let down precisely because the expected happens and the audience feels cheates because it got precisely what I wanted. but Hitchcock. in the admitted absence of any real emotional depth in Hitchcock’s films (a shortcoming for which he has been much criticized). itself evoked by a third element. we invariably want to know when. in contrast to the Griffithian acceleration of parallel actions. which presupposes slow motion and is sustained by the gaze. the zero degree achieves its positive expression. 134p. 24p. employs an editing of convergent actions in homogeneous space. A Father Who is Not Quite Dead – Mladen Dolar . In it. a perverse object or a stain. at what precise moment the hero and the heroine can at last be “reunited” – but coupling is one of suspense’s main modalities. (…) 131p. (…) So the function of the blot is finally nothing but the developed form and the reflected expression of the function of the gaze which is structured by the oscillation of this gaze. concentrated in one point. 28p. The Spectator Who Knew Too Much .

We are concerned here with the ambiguity between the Heimlich and the unheimlich. . 153p. it also bring a certain effect of disappointment. the greater its capacity to inspire terror. The suspicion is confirmed or rejected. 146p. a form of sickness affecting not only the cinematographic duration (with its comprenssion and ilation) but also objects and mode of behavior. (…) The more familiar or banal an object or act is. the suspense turns into certainty.Since the ending cannot remain empty (as a McGuffin can). Notorious – Pascal Bonitzer Suspense is therefore a kind of perversion.

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