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Panel 46 Mnemosyne: Ninfa. Eïlbringitte en el círculo de Tornabuoni. Domesticación. Gentileza de La Rivista di Engramma tema de investigación Mnemosyne Atlas en http://www.engramma.it/eOS2/atlante/
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Taking as a reference Warburg’s iconology of the interval, this paper attempts to explore the logic of montage, editing and juxtaposition as one of the pillars of contemporary audiovisual creation and research. Warburg’s legacy, more active today than ever, gives priority to transmission, historicity and artistic empathy, and the development of a h...
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En este artículo abordamos parte de la tendencia cinematográfica hacia la complejidad narrativa que los estudios fílmicos han denominado mind-game films (Elsaesser, 2009) o puzzle films (Buckland, 2009). Ubicados por la academia como parte del cine postclásico (Thanouli, 2009), su narrativa enrevesada se asienta frecuentemente sobre la no linealidad temporal del relato y los narradores poco fiables. Partimos del marco teórico sobre el objeto de estudio para centrarnos en la enunciación de mind-game films protagonizados por personajes amnésicos, acotando nuestra muestra a aquellos que giran en torno al olvido de un trauma íntimo. Desde el análisis fílmico de raíz semiótica, llevamos a cabo una revisión de la relación entre la focalización narrativa (Gaudreault y Jost, 1995) de filmes representativos de la tendencia, como Memento, ¡Olvídate de mí!, Shutter Island u Origen, y el saber que oculta la amnesia de sus protagonistas. Proponemos que con la recuperación del saber que los protagonistas persiguen emerge un sentir trágico, tanto por la disposición narrativa del relato, que permite rastrear la pervivencia de conceptos aristotélicos como la anagnórisis y la hamartia, como por el contenido del recuerdo, en el que se hallan ecos de mitos clásicos como los de Edipo y Orfeo.
The authors of this work believe that the fact that political iconography can influence reality and intervene in actual events -sometimes by using reinvented motifs and visual narratives from previous iconographic sources, after Warburg’s Pathosformel fashion–, is of utmost importance in political campaigns. In modern electoral campaigns, the use of visual themes that represent different emotions constitutes a clear link with the use of pathos in current political communication. From the perspective of political communication, this work analyses the use of iconography in modern electoral campaigns. In doing so, we trace a link between Warburg’s concept of the pathos formula and the use of different motifs of pathos developed in modern electoral campaigns. Electoral communication uses images linked to emotions such as enthusiasm, hope, fear and identity, which in this paper are studied from a database of posters and electoral spots from recent Spanish campaigns. The study also makes reference to visual motifs of pathos aimed at activating these emotions in the voters in different comparative campaigns and in electoral propaganda.
Based on its relationship to comic books, this article proposes an iconographic study of the public figure of Federico Fellini in terms of the Hermes archetype. With the aim of explaining how Fellini’s image has been interpreted from different visual perspectives, I consider two basic questions: what relationship does Fellini have to the images of himself and of Italian culture? And why have images in Fellini’s films and his own public image been the object of constant reinterpretations in film, advertising and on social networks? Focusing on the rereading of Fellini’s image in the comics of Milo Manara, this article explores a phenomenon that distinguishes Fellini’s filmmaking: his role as a circulator of images of classical and popular culture out of the past and into the future. The figure of Hermes, the god of mediation, constitutes the archetype through which we can understand this central role of Fellini.
