Sismography of Perceptions: The Earthquake of 2010 in the Intermedial Crossing of Film, Poetry and Dance
Keywords:
Earthquake, Intermediality, Perceptions, Tiziana Panizza, Germán CarrascoAbstract
This essay studies, from the point of view of perceptions, three art works that, from different fields, elaborated on the topic of the earthquake of 2010 in Chile: the book of poems Sobre la mancha (2012) by Germán Carrasco, the film Tierra en movimiento (2014) by Tiziana Panizza and the dance choreography Un sismo (2014) by Carla Bolgeri. The works coincide in presenting the earthquake indirectly, through layers of perceptions mediated in the representation and articulated through intermedial aesthetic solutions that form a perceptive “thickness” around it. This way, it becomes possible to wonder on the synchrony between human rythms and the rhythm of nature, or on the cycles of memory from lateral and new perspectives.
Downloads
References
Bergson, Henri. Matière y mémoire: essais sur la relation du corps à l’esprit. Paris: Presses Universitaires de France, 1959.
Bolgeri, Carla. Un sismo. Compañía H e invitados. Estreno en Matucana100, 2014.
Carrasco, Germán. Ensayo sobre la mancha. Santiago: Ediciones Corriente Alterna, 2012.
Carrasco, Germán. A mano alzada. Santiago: Cuarto Propio, 2013.
Chion, Michel. The voice in the cinema. New York: Columbia University Press, 1999.
Corro, Pablo. “Documentales epistolares”. Lorena Amaro (ed.). Estéticas de la intimidad. Santiago: Pontificia Universidad Católica de Chile, 2009. 69-80.
Cummings, Brian. “Metalepsis”. Renaissance figures of speech. Cambridge: C U Press, 2007. 217-236.
Deleuze, Gilles. La imagen-tiempo. Barcelona: Paidós, 1987.
Deleuze, Gilles. Cine I. Bergson y las imágenes. Buenos Aires: Cactus, 2014.
Depetris, Irene. “La resistencia de los materiales. Sobre ‘Tierra en movimiento’ de Tiziana Panizza”. Informe Escaleno. 25 de Abril de 2014. Web. 12 de Julio de 2015.
Englund, Axel. “Intermedial topography and metaphorical interaction”. Media borders, multimodality and intermediality. New York: Macmillian, 2010. 69-80.
Marks, Laura. Touch. Sensuous Theory and Multisensory Media. Minneapolis: University of Minnesota Press, 2002.
Masiello, Francine. El cuerpo de la voz (Poesía, ética y cultura). Buenos Aires: Beatriz Viterbo, 2013.
Merleau-Ponty, Maurice. The Visible and the Invisible. Trad. Alphonso Lingis. Evaston: Northwestern University Press, 1968.
Nancy, Jean-Luc. El sentido del mundo. Buenos Aires: La Marca, 2003.
Panizza, Tiziana. Tierra en movimiento. Santiago: Domestic Films, 2014.
Pethö, Ágnes. Cinema and Intermediality. The passion for the In-Between. New Castle: Cambridge Scholars Publishing, 2011.
Ryan, Marie-Laure. Avatars of Story. Minneapolis: University of Minnesota Press, 2006.
Seigworth, Gregory y Melissa Gregg. “An inventory of shimmers”. The affect theory reader. Durham: Duke University Press, 2010. 186-205.
Stern, Manuel. El mundo interpersonal del infante. Una perspectiva desde el psicoanálisis y la psicología evolutiva. Buenos Aires: Paidós, 1991.
Zambra, Alejandro. “Postfacio”. Calas. Germán Carrasco. Santiago: J. C. Sáez Ed., 2003. 135-140.
Downloads
Published
Issue
Section
License
Copyright (c) 2022 Revista de humanidades (Santiago. En línea)
This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License.
You are free to:
Share — copy and redistribute the material in any medium or format
The licensor cannot revoke these freedoms as long as you follow the license terms.
Under the following terms:
-
Attribution — You must give appropriate credit, provide a link to the license, and indicate if changes were made. You may do so in any reasonable manner, but not in any way that suggests the licensor endorses you or your use.
-
NonCommercial — You may not use the material for commercial purposes.
-
NoDerivatives — If you remix, transform, or build upon the material, you may not distribute the modified material.
- No additional restrictions — You may not apply legal terms or technological measures that legally restrict others from doing anything the license permits.
Notices:
- You do not have to comply with the license for elements of the material in the public domain or where your use is permitted by an applicable exception or limitation.
- No warranties are given. The license may not give you all of the permissions necessary for your intended use. For example, other rights such as publicity, privacy, or moral rights may limit how you use the material.
