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Los inadaptdos de Tim Burton
Abstract
Tim Burton es uno de los cineastas más insólitos del cine actual. Los protagonistas de sus películas son desarraigados, introvertidos, melancólicos, outsiders, viven una dualidad existencial entre su mundo interior y la realidad exterior. Sus personajes reflejan las experiencias del director durante su infancia, adolescencia y también a lo largo de su vida adulta, especialmente en el ámbito profesional. De pequeño, Burton vivió aislado, encerrado en su habitación, donde veía películas de terror y dibujaba seres monstruosos. De mayor, él siempre se ha considerado un director ajeno a la industria de Hollywood: forma parte de ese entramado cinematográfico pero se siente extraño en él. El libro estudia el cine de Tim Burton desde la perspectiva de su outsider protagonista, atendiendo especialmente a sus películas más emblemáticas y personales.
... Another aspect that relates the myth to this cinematographic work is the importance of music. In a world where Victor feels out of place, a stranger, an «outsider», according to Javier Figuero (2012), his only way of escape is music, specifically the piano, for which, like Orfeo with the lyre, the boy has a great talent, something that contrasts with the clumsiness he shows in other situations. Music is shown as a liberating element, and it is present in several important moments for Victor. ...
Umberto Eco (1986, p. 70) said that the task of the imagination is to establish a «courageous tolerance of everything fantastic». In this way, imagining the fantastic leads us to tolerate what is placed in front of us in its different modes of artistic expression by suspending disbelief. A space where the concept of «imagination» inevitably connects with that of «image». In fact, «fantastic» [...].
... Another aspect that relates the myth to this cinematographic work is the importance of music. In a world where Victor feels out of place, a stranger, an «outsider», according to Javier Figuero (2012), his only way of escape is music, specifically the piano, for which, like Orfeo with the lyre, the boy has a great talent, something that contrasts with the clumsiness he shows in other situations. Music is shown as a liberating element, and it is present in several important moments for Victor. ...
Umberto Eco (1986, p. 70) said that the task of the imagination is to
establish a «courageous tolerance of everything fantastic». In this way,
imagining the fantastic leads us to tolerate what is placed in front of
us in its different modes of artistic expression by suspending disbelief.
A space where the concept of «imagination» inevitably connects
with that of «image». In fact, «fantastic», in its etymological origin,
comes from the Latin noun phantasia, which is taken, in turn, from
the Greek words «appearance», «spectacle» and «image». Therefore,
the fantastic can point to something that is shown or appears as a
reproduction of reality, that is, as an image; or provoking a reaction of
amazement, delight, horror, etc., through the show (Güemes Suárez,
2016, p. 25). For this reason, it’s common to associate the fantastic with
terror, when they aren’t synonymous. In this sense, we can read a
novel or watch a film whose plot arouses terror on an emotional level
but, nevertheless, embraces a realistic and even historical context, far
from the margins of the fantastic. These margins around the genre
begin to break down when its origin, as phantasia, dialogue with other
genres and arts through different nuances. There where the fantastic
is interpreted as fictitious and unreal, since «the ontological weakness
of the imaginary compromises art and imprisons it in the region of
non-being and the lie» (Serés Guillén, 1994, p. 209).
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