Expresiones críticas representadas en los discursos de películas de finales de los 60's: 2001: Una Odisea del Espacio, El Planeta de los Simios y Solaris.
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| Title: | Expresiones críticas representadas en los discursos de películas de finales de los 60's: 2001: Una Odisea del Espacio, El Planeta de los Simios y Solaris. |
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| Alternate Title: | Critical expressions represented in the film discourses of the late sixties: 2001: A Space Odyssey, Planet of the Apes and Solaris. Expressões críticas representadas nos discursos dos filmes do final dos anos 1960: 2001: Uma Odisseia no Espaço, O Planeta dos Macacos e Solaris. |
| Authors: | Salcedo Díaz, Laura1,2 aurasalcedo@uninorte.edu.co |
| Source: | Revista Pensamiento Americano. Jan-Jun2019, Vol. 12 Issue 23, p200-224. 25p. |
| Subjects: | INTERPLANETARY voyages, 2001: A Space Odyssey (Film), APES, FILMMAKERS, DIALOGUE, NATURE, COUNTERCULTURE |
| Abstract (English): | In the present work three cinematographic works of the end of the sixties on space travel are analyzed: 2001: A Space Odyssey, The Planet of the Apes and Solaris. Dialogues, main argument and situations represented in the images of each of these productions are analyzed, and discourses of the time are identified, which account for a set of tensions, fears and expectations. Thus, the characters, the landscape and situations, end up being resources for expressing the concerns generated by technological advances, the rejection of certain traditions, concerns about the relationship between man and nature, and other topics that were in the imaginary of the filmmakers, but that also give an account of the context in which the cinematographic works were made. Precisely for this reason they constitute, as vestiges of human activity, resources for the analysis of the past. [ABSTRACT FROM AUTHOR] |
| Abstract (Spanish): | El presente trabajo se ocupa de analizar tres obras cinematográficas de finales de la década de los sesenta sobre los viajes espaciales: 2001: Una Odisea del Espacio, El Planeta de los Simios y Solaris. Se analizan diálogos, argumento principal y situaciones representadas en las imágenes de cada una de estas producciones y se identifican discursos de la época, que dan cuenta de un conjunto de tensiones, temores y expectativas. Así, los personajes, el paisaje y las situaciones terminan siendo recursos de expresión de las inquietudes generadas por los avances tecnológicos, del rechazo a ciertas tradiciones, de las preocupaciones por la relación hombrenaturaleza, y otros temas que se encontraban en el imaginario de los realizadores, pero que también dan cuenta del contexto en que se realizaron las obras cinematográficas. Precisamente por eso éstas constituyen, como vestigios de la actividad humana, recursos de análisis del pasado. [ABSTRACT FROM AUTHOR] |
| Abstract (Portuguese): | O presente trabalho trata da análise de três obras cinematográficas do final dos anos 60 sobre as viagens espaciais, 2001: Uma Odisseia no Espaço, Planeta dos Macacos e Solaris. Analisando cada uma dessas produções cinematográficas em vários de seus diferentes elementos constituintes, como diálogos, enredo principal e situações representadas nas imagens, é possível identificar características de um tempo de tensões e medos, mas também de expectativas elevadas. Assim, os personagens e situações acabam sendo recursos de expressão das preocupações geradas pelos avanços tecnológicos, a rejeição de certas tradições, as preocupações sobre a relação homem-natureza e outras questões que, sem dúvida, estavam na mente dos cineastas, mas que também moldaram esse momento na história em que os filmes foram feitos. É precisamente por isso que eles constituem, como vestígios da atividade humana, recursos de análise do passado. [ABSTRACT FROM AUTHOR] |
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| Database: | MedicLatina |
| Abstract: | In the present work three cinematographic works of the end of the sixties on space travel are analyzed: 2001: A Space Odyssey, The Planet of the Apes and Solaris. Dialogues, main argument and situations represented in the images of each of these productions are analyzed, and discourses of the time are identified, which account for a set of tensions, fears and expectations. Thus, the characters, the landscape and situations, end up being resources for expressing the concerns generated by technological advances, the rejection of certain traditions, concerns about the relationship between man and nature, and other topics that were in the imaginary of the filmmakers, but that also give an account of the context in which the cinematographic works were made. Precisely for this reason they constitute, as vestiges of human activity, resources for the analysis of the past. [ABSTRACT FROM AUTHOR] |
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| ISSN: | 20272448 |
| DOI: | 10.21803/pensam.v12i22.257 |
