La imposibilidad y la idea. Aproximaciones al imaginario cinematográfico de César Aira
Fecha
2015-08
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Universidad Nacional de Rosario. Facultad de Humanidades y Artes. Centro de Estudios de Teoría y Crítica Literaria.
Resumen
Descripción
El presente trabajo propone pensar las relaciones que la obra de César Aira establece con el cine. La lectura recorre en un primer momento las menciones explícitas al cine en sus novelas (ya sea en sus variantes histórico / genealógicas, anecdóticas, estéticas y narrativas) para demostrar lo fecundo de su imaginario cinematográfico. En segunda instancia se intenta pensar la raigambre cinematográfica de algunos procedimientos literarios en su obra a partir de las relaciones con dos cineastas admirados por el propio Aira: Alfred Hitchcok y Jean-Luc Godard.
The present work proposes to think the relationshipsthat César Aira'swork establishes with cinema. The reading goes, in the first place, through the explicit mentions ofcinema in his novels (in his historical,genealogical, anecdotal, aesthetic and narrativevariants) to demonstrate the fecundityofthe cinematographic imaginary in Aira’s oeuvre. The second instancefocuses on the cinematographic origin of some literary procedures in his work, with emphasis on two directors admired byAira: Alfred Hitchcock and Jean-Luc Godard.
The present work proposes to think the relationshipsthat César Aira'swork establishes with cinema. The reading goes, in the first place, through the explicit mentions ofcinema in his novels (in his historical,genealogical, anecdotal, aesthetic and narrativevariants) to demonstrate the fecundityofthe cinematographic imaginary in Aira’s oeuvre. The second instancefocuses on the cinematographic origin of some literary procedures in his work, with emphasis on two directors admired byAira: Alfred Hitchcock and Jean-Luc Godard.
Palabras clave
Cine y literatura, Aira, MCGuffin, Hitchcock, Godard, Procedimientos narrativos, Film and literature