Una mirada sobre las representaciones sociales en el cine documental
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Universidad Nacional de Rosario. Facultad de Humanidades y Artes. Centro de Estudios Sobre Diversidad Cultural
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En el presente trabajo pretendemos indagar cómo el cine /video documental opera como vehículo que, a través de su lenguaje, contribuye a la formación e identificación de representaciones sociales. Partimos de entender que en la construcción de las representaciones se involucran procesos cognitivos y de atribución de significados que permiten pensar, entre otras, en un “pasaje” desde las representaciones individuales a las sociales. Además, el cine /video documental como práctica cultural de representación, involucra tanto un leguaje estético como cuestiones axiológicas y críticas. Así lo expresa B. Nichols, al afirmar que los documentales son parte de los discursos en donde se representan “placer y poder, ideología y utopías, sujetos y subjetividades”. Para contribuir a este análisi seleccionamos un documental santafesino, Reverendo (1986), que contiene una modalidad particular del uso del personaje / relato individual. Desde allí re-visitaremos los conceptos centrales antedichos y veremos cómo los modos y estructuras específicas del mismo, sus dispositivos formales (uso de la mirada, la palabra, la imagen) producen efectos dinámicos (construcción de representaciones sociales), a la vez que plantea formas de articulación de aquella tensión indisoluble entre lo individual / social y lo particular / universal.
In this work we intend to inquire into how the documental cinema /video operates in a vehicle that by its laguage contributes to forming an identificaction of social representations. We start understanding that the representations construction involves cognitive processes and of meaning attribution that allows to think of a “passage” from the individuals representation to the socials ones. Furthermore, the documental cinema /video as a cultural practice of representation, involves an esthetic language and values and criticizes questions. In this manner, expresses B. Nichols, saying that documentals are part of the speeches where are represented “pleasure and power, ideology and utopia, subjects and subjectivities”. To help to this analysis, we choose a documental of Santa Fe: Reverendo (1986), with a particular use of the character / individual narrative. We'll visit all the central concepts aforesaid from there, and we'll see how the ways and specific structures of the documental, its formal dispositives (use of the look, the word, the image) produce dynamic effects (social representation's construction), at a time, it presents forms of articulation of that indissoluble tension between the individual / social and the particular / universal.
In this work we intend to inquire into how the documental cinema /video operates in a vehicle that by its laguage contributes to forming an identificaction of social representations. We start understanding that the representations construction involves cognitive processes and of meaning attribution that allows to think of a “passage” from the individuals representation to the socials ones. Furthermore, the documental cinema /video as a cultural practice of representation, involves an esthetic language and values and criticizes questions. In this manner, expresses B. Nichols, saying that documentals are part of the speeches where are represented “pleasure and power, ideology and utopia, subjects and subjectivities”. To help to this analysis, we choose a documental of Santa Fe: Reverendo (1986), with a particular use of the character / individual narrative. We'll visit all the central concepts aforesaid from there, and we'll see how the ways and specific structures of the documental, its formal dispositives (use of the look, the word, the image) produce dynamic effects (social representation's construction), at a time, it presents forms of articulation of that indissoluble tension between the individual / social and the particular / universal.
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