{"id":19487,"date":"2016-02-18T19:56:00","date_gmt":"2016-02-18T19:56:00","guid":{"rendered":""},"modified":"2026-06-29T02:20:09","modified_gmt":"2026-06-29T02:20:09","slug":"charlas-de-cinefilia-del-centro-de-2","status":"publish","type":"post","link":"https:\/\/entrepalabrasmxdigital.com\/?p=19487","title":{"rendered":"Charlas de cinefilia del Centro de Documentaci\u00f3n"},"content":{"rendered":"<div style=\"background-color: white; line-height: 22.72px; margin-bottom: 1.35em; text-align: justify;\">\n<\/div>\n<ul>\n<li><strong style=\"line-height: 22.72px;\"><span style=\"font-family: Arial, Helvetica, sans-serif;\"><i>En la Cineteca Nacional identifican los elementos transgresores en el cine de Hitchcock<\/i><\/span><\/strong><\/li>\n<li><strong style=\"line-height: 21.3px;\"><span style=\"font-family: Arial, Helvetica, sans-serif;\"><i>Seg\u00fan Isabel Lincoln, la violencia moral y social de sus filmes se manifiesta en tem\u00e1ticas de suicidio, enga\u00f1o, asesinato e incluso el Apocalipsis<\/i><\/span><\/strong><\/li>\n<\/ul>\n<p><\/p>\n<div style=\"background-color: white; line-height: 22.72px; margin-bottom: 1.35em; text-align: justify;\">\n<\/div>\n<div class=\"separator\" style=\"clear: both; text-align: center;\">\n<a href=\"https:\/\/blogger.googleusercontent.com\/img\/b\/R29vZ2xl\/AVvXsEjt0mDZEV_u8jedWn6xiPA63mcdS8Zqw29D4l5riefVRo-H8o7PNfrSluD6QhvQnm6phxaA7LzRMKhw9ZG_cb5oEoM9IQCBSqIeKqPhyphenhyphenLduwuhTGAFaOT2cxnSs81VlJeXwYpjK6B9Xicoi\/s1600\/x11.png\" imageanchor=\"1\" style=\"clear: left; float: left; margin-bottom: 1em; margin-right: 1em;\"><img fetchpriority=\"high\" decoding=\"async\" border=\"0\" height=\"320\" src=\"https:\/\/entrepalabrasmxdigital.com\/wp-content\/uploads\/2016\/02\/x11.png\" class=\"wp-image-19488\" width=\"213\" \/><\/a><\/div>\n<div style=\"background-color: white; line-height: 22.72px; margin-bottom: 1.35em; text-align: justify;\">\n<span style=\"font-family: Arial, Helvetica, sans-serif;\">En los filmes de Alfred Hitchcock existe una constante tem\u00e1tica que se nutre de una serie de motivos subyacentes, ya sea el crimen, la culpa, la traici\u00f3n o el Apocalipsis. Se trata de la transgresi\u00f3n, a decir de Isabel Lincoln durante la charla \u201cLa transgresi\u00f3n en el cine de Alfred Hitchcock\u201d, que se llev\u00f3 a cabo este 16 de febrero en la Sala 4, Arcady Boytler.<\/span><\/div>\n<div style=\"background-color: white; line-height: 22.72px; margin-bottom: 1.35em; text-align: justify;\">\n<span style=\"font-family: Arial, Helvetica, sans-serif;\">Organizada por el Centro de Documentaci\u00f3n de la Cineteca Nacional, la doctora en Ciencias Pol\u00edticas y Sociales por la Universidad Nacional Aut\u00f3noma de M\u00e9xico hizo un recuento de la extensa filmograf\u00eda de Hitchcock, resaltando sus trabajos m\u00e1s conocidos para identificar aquellos elementos que consideraba transgresores para su \u00e9poca.<\/span><\/div>\n<div style=\"background-color: white; line-height: 22.72px; margin-bottom: 1.35em; text-align: justify;\">\n<span style=\"font-family: Arial, Helvetica, sans-serif;\">La investigadora defini\u00f3 el concepto de transgresi\u00f3n, de manera general, como \u201cel quebrantamiento de las normas o costumbres\u201d en diferentes \u00e1mbitos. \u201cEn el cristianismo, por ejemplo, representa el incumplimiento de una norma moral; es lo que denominamos com\u00fanmente como pecado. Pecados en el cine de Hitchcock hay muchos\u201d, coment\u00f3.<\/span><\/div>\n<div style=\"background-color: white; line-height: 22.72px; margin-bottom: 1.35em; text-align: justify;\">\n<span style=\"font-family: Arial, Helvetica, sans-serif;\">De acuerdo con la profesora, la esencia de violencia moral y social que est\u00e1 en el fondo de las 58 producciones del Maestro del Suspenso encuentra formas de expresi\u00f3n en las tem\u00e1ticas de suicidio, enga\u00f1o, violencia intrafamiliar, asesinato y, en el caso espectacular de<em style=\"line-height: 22.72px;\">Los p\u00e1jaros<\/em>&nbsp;(<em style=\"line-height: 22.72px;\">The Birds<\/em>, 1963), a trav\u00e9s de una alegor\u00eda del apocalipsis b\u00edblico.<\/span><\/div>\n<div style=\"background-color: white; line-height: 22.72px; margin-bottom: 1.35em; text-align: justify;\">\n<span style=\"font-family: Arial, Helvetica, sans-serif;\">\u201cDesde las primeras escenas en las que Melanie cruza la calle observa en el cielo una parvada de p\u00e1jaros. En la Biblia se lee: \u2018Y mir\u00e9 y o\u00ed la voz de muchos \u00e1ngeles alrededor del trono y de los seres vivientes y de los ancianos, y su n\u00famero eran millones\u2019. La profec\u00eda est\u00e1 establecida desde el inicio\u201d, explic\u00f3.<\/span><\/div>\n<div style=\"background-color: white; line-height: 22.72px; margin-bottom: 1.35em; text-align: justify;\">\n<span style=\"font-family: Arial, Helvetica, sans-serif;\">Lincoln tambi\u00e9n destac\u00f3 la campa\u00f1a publicitaria de&nbsp;<em style=\"line-height: 22.72px;\">Psicosis<\/em>&nbsp;(<em style=\"line-height: 22.72px;\">Psycho<\/em>, 1960); desde el&nbsp;<em style=\"line-height: 22.72px;\">trailer<\/em>provocador en donde Hitchcock gu\u00eda a la audiencia a trav\u00e9s del motel Bates y la casa del asesino, hasta el uso de advertencias gr\u00e1ficas y sonoras que se montaron en los cines estadounidenses para indicar al p\u00fablico que no entrara tarde a la pel\u00edcula y que no se la contara a nadie.<\/span><\/div>\n<div style=\"background-color: white; line-height: 22.72px; margin-bottom: 1.35em; text-align: justify;\">\n<span style=\"font-family: Arial, Helvetica, sans-serif;\">La conferencia de Isabel Lincoln fue ejemplificada con varias escenas de pel\u00edculas emblem\u00e1ticas del director brit\u00e1nico, como las secuencias on\u00edricas de&nbsp;<em style=\"line-height: 22.72px;\">Spellbound<\/em>&nbsp;(1945), dise\u00f1adas por Salvador Dal\u00ed; la escena inicial de&nbsp;<em style=\"line-height: 22.72px;\">Psicosis<\/em>, ofensiva en su \u00e9poca por la ligereza de su car\u00e1cter sexual, y el cl\u00edmax de&nbsp;<em style=\"line-height: 22.72px;\">Vertigo<\/em>&nbsp;(1958), que reafirma la estructura espiral de la narrativa de ese filme.<\/span><\/div>\n<div style=\"background-color: white; line-height: 22.72px; margin-bottom: 1.35em; text-align: justify;\">\n<span style=\"font-family: Arial, Helvetica, sans-serif;\">El Centro de Documentaci\u00f3n de la Cineteca Nacional continuar\u00e1 con sus actividades el martes 23 de febrero con la presentaci\u00f3n del libro&nbsp;<em style=\"line-height: 22.72px;\">Mostrolog\u00eda del cine mexicano<\/em>, de Marco Gonz\u00e1lez Ambriz, Jos\u00e9 Luis Ortega Torres, Octavio Serra y Rodrigo Vidal Tamayo.<\/span><\/div>\n","protected":false},"excerpt":{"rendered":"<p>En la Cineteca Nacional identifican los elementos transgresores en el cine de Hitchcock Seg\u00fan Isabel Lincoln, la violencia moral y social de sus filmes se manifiesta en tem\u00e1ticas de suicidio, enga\u00f1o, asesinato e incluso el Apocalipsis En los filmes de Alfred Hitchcock existe una constante tem\u00e1tica que se nutre de una serie de motivos subyacentes, [&hellip;]<\/p>\n","protected":false},"author":2,"featured_media":19488,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[],"class_list":["post-19487","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-uncategorized"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v28.0 - 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