Retóricas del Che muerto: entre la información y significación
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2012
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UNR Editora
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[es] Este trabajo propone comparar el uso de una misma imagen
como estrategias de cierre organizadas sobre diferentes
materias significantes: el rostro congelado de Ernesto Che
Guevara con que culmina la película “La hora de los hornos”,
obra de Octavio Getino y Fernando Solanas estrenada en Italia en 1968, y la imagen del guerrillero asesinado en la viñeta
final de la historieta “La vida del Che”, biografía dibujada de
Héctor Oesterheld y Alberto Breccia publicada ese mismo
año. Dicho recorte analítico tiene el propósito de observar
las gramáticas visuales puestas en juego en el marco de un
proceso histórico que reconoce nuevos modos de socialización del arte y un contorno político que carga de significados
la resolución de ambas obras.
[es] This paper proposes to compare the use of the same image as strategies of closure organized on different “significant materials”: the frozen face of Ernesto Che Guevara with which the film “The Hour of the Furnaces” ends, movie of Fernando Solanas and Octavio Getino that was released in Italy in 1968, and the image of the murdered “guerrillero” in the final vignette of the comic “The life of Che”, biography drawn by Hector Oesterheld and Alberto Breccia and published the same year. This selection in the analysis proposes to observe the “visual grammars” that have played in the framework of one historical process which recognizes new manners of socialization of art and a political outline that charge of meanings the resolution of both works.
[es] This paper proposes to compare the use of the same image as strategies of closure organized on different “significant materials”: the frozen face of Ernesto Che Guevara with which the film “The Hour of the Furnaces” ends, movie of Fernando Solanas and Octavio Getino that was released in Italy in 1968, and the image of the murdered “guerrillero” in the final vignette of the comic “The life of Che”, biography drawn by Hector Oesterheld and Alberto Breccia and published the same year. This selection in the analysis proposes to observe the “visual grammars” that have played in the framework of one historical process which recognizes new manners of socialization of art and a political outline that charge of meanings the resolution of both works.
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Palabras clave
Historia, Política, Guevara, Ernesto Che, Biografías, History, Policy, Biographies