Los dos lados de la perversión en El Incidente

Los dos lados de la perversión en El Incidente

En esta presentación se destacarán los dos lados de la realidad representados en la película El Incidente y cómo éstos se distorsionan en un resultado aún más perverso que la realidad misma.

Resumen

En este film, el cineasta mexicano muestra como narrativa principal la monotonía de los personajes y el fantasma de vivir otra realidad simultánea con el solo hecho de cambiar la decisión en sus vidas.

Introducción

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Aquí viene un primer giro interesante, que enlaza el mundo de los personajes con ese agente externo a ellos: el hombre se quita los audífonos, y el volumen de la pieza baja, haciéndonos entender que él la estaba escuchando. Sin saberlo, todo este tiempo nuestra experiencia era en realidad la experiencia de un personaje dentro de la película (62).

Al fin del Mundo

Quote

"Más allá de nuestro universo conocido". Y la visión de que nuestra Tierra no es un planeta flotando en el espacio infinito, sino una abertura o agujero circular dentro de una masa compacta e interminable de hielo eterno, con el Sol en su centro, era una de las fantasías pseudocientíficas favoritas de los nazis poner algunos telescopios en las islas Sylt con el fin de observar Estados Unidos (244).

Lo importante en la articulación de diégesis y narración es que, en el cine, solo podemos conocer la diégesis a través de la narración. En el cine no podemos tomar la decisión de no seguir a un personaje mientras camina por la calle y doblar en una esquina distinta. Nuestra experiencia de la diégesis cinematográfica es posible únicamente gracias a la narración cinematográfica (64).

El Otro, tal vez no existe

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La sociedad (su campo socio-simbólico, el gran Otro) es "sana" y"normal" incluso cuando se demuestra que está equivocada de hecho. Tal vez fuera en este sentido que el difunto Lacan se designaba a sí mismo como "psicótico". En efecto, era psicótico en la medida en que no era posible integrar su discurso en el campo del gran Otro (250).

Zizek:

El Otro, tal vez no existe

La proyección de lo real y El toque freudiano

Malebranche en El incidente y Escenificación de la fantasía fundamental

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Estos personajes son las baterías que habitan en el absurdo, gracias a las cuales tiene sentido el mundo externo. Ese filtro de nubosidad en estas viñetas, esas actuaciones muy pobres, esas historias de superación y desamor ingenuas, pueden ser leídas desde el modo en que esa vida que imaginamos, mientras estamos atrapados en un incidente, en un otro espacio que no nos permite escapar, es efectivamente una fantasía: una pantalla que usamos para darle sentido al absurdo de nuestra propia existencia que está, en realidad, atrapada en un incidente (Aguilar 71).

Aguilar 71

Malebranche en El incidente y Escenificación de la fantasía fundamental

Conclusiones

Algunos llaman “anemoia” a ese sentimiento de ominosa cercanía con el pasado (vivido o no vivido), pero para Fisher, como esto no puede estar desligado de los modos en que el capitalismo alimenta nuestro deseo, le llama espectrología (72).

Como señala Fisher, en el mundo digital de hoy, lo que está perdido es la capacidad de pérdida misma: tenemos a nuestra disposición todo este material del pasado que nos sentimos acosados, abrumados y atrapados en él.

VS

Aguilar 72

Matrix or the Two Sides of Perversion. Inside the Matrix: International Symposium at the Center for Art and Media, Karlsruhe October 28 1999. https://www.lacan.com/zizek-matrix.htm

Zizek, Slavok.

Uncunny. 1919. https://web.mit.edu/allanmc/www/freud1.pdf

Freud, Sigmun. Uncunny. 1919.

Un mundo nuevo e imposible. El Incidente y las consecuencias políticas del espacio cinematográfico. Universidad Iberoamericana, Andrew Mellon Grant Ciudad de México, México, 2020 ÑAWI. Vol. 4, Núm. 1 (2020): Enero, 61-79. ISSN 2528-7966, e-ISSN 2588-0934

Aguilar Alcalá, Sergio.

Referencias bibliográficas

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