RAE Suspense: Expectacin impaciente o ansiosa por el desarrollo de una accin o suceso, especialmente en una pelcula cinematogrfica, una

obra teatral o un relato. Peripecia: En el drama o en cualquier otra composicin anloga, mudanza repentina de situacin debida a un accidente imprevisto que cambia el estado de las cosas. - Accidente de esta misma clase en la vida real. Agnicin: En el poema dramtico, reconocimiento de una persona cuya identidad se ignoraba.

Ejemplo del examen: Suspenso en el examen es que yo tome o no el examen s las preguntas pero me concentro en cmo el resot del saln o un amigo en aprticular reacciona ante cada o todas las preguntas. Suspense no es lo mismo a misterio, expectativa o sorpresa () Suspenso solo se da una vez, no vuelve a pasar (por el conocimiento) 10 pag. Mnimo Area problemtica (1er ejercicio) El problema El tema Ttulo Objetivos Fundamentacin (xq es til) Problema (limites)

Originalidad Hipotesis Metodologa Antecedente (3 o 5) Los asesinatos de Hitchcock Peter Conrad El gnero inventado por Hitchcock tena su propia e exclusiva modernidad. El thriler extrae sus efectos emocionales de nuestros temores innatos, lo que nos asusta es la voltatil realidad en la que habitamos cuya permanencia ya no est respaldada por Dios-, y los seres irracionales con la que tenemos de lidiar. Y aun as, extraer un refinado placel del miedo. 105p. Peligro=Teatro de la cueldad A. Artaud El lenguaje cinematogrfico Joaquim Romaguera Para la italnia Della Fornare, un gnero cinematogrfico est constituido por una seria de filmes que presentan caractersticas anlogas () para ella un subgnero est constituido por una serie de films que presentan caractersticas comunes en la trama, en los personajes y en la ambientacin. 46p. Cine de aventura: western, mitolgico, fantecientfico, espionaje, policlo, blico, aventura pura, thriller y catastrfico Cine dramtico: puro, sentimental, mtico, musical, histrico, negro, apacionado, terrorfico.

EL gabinete del doctor Caligari cine de cmara o Kammerspielfilm Expresionismo Alemn En el expresionismo, como su nombre ya deja entrever, predomina el sentimiento sobre el pensamiento, y se expresa ms la emocin que la descripcin de situaciones; el color se enaltece por encima de la lnea, al tiempo que la distorsin o reforzamiento formal se acenta; la realidad objetiva se reduce considerablemente en beneficio de la visin personal, por lo que emerge la experiencia o vivencia interior del artista a travs de formas agresivas, msticas, lricas o angustiosas. 71p. El gabinete del doctor Caligari es su cima, y donde fondo y forma alcanzan su plenitud para configurar una obra manifiesto del movimiento expresionista en el campo del cine. 72p. () El expresionismo procura poner de relieve el latir del ser humano, su visceralidad, su misticismo () 72p. En el expresionismo sobresalen, por una parte, la forma interpretativa, y por la otra, la ambientacin decorativa. En el primer aspecto, la gestualidad es la haza mayor con que juegan los acores, exagerando sus movimientos con el fin de transmitir sentimientos y emociones ocultas; en el segundo aspecto () Ambos aspectos se funden o intentan comulgar para reforzar los estados de cinismo y las situaciones que se quieren transmitir. 72p. Surrealismo Europeo En fin, los surrealistas de aquellos aos prestaron una cierta atencin hacie el cine, como medio a travs del cual dar rienda suelta a su subconsciente, a sus sueos, a su rebelin e inconformismo. A pesar de ello, la filmografa surrealista no es abundante, ms bien restringida en puridad, aunque si pueden rastrearse huellas indelebles en muchos ttulos que no son ni pretenden ser surrealistas,

pero que incluyen algn fragmento claramente surreal, como la escena del sueo diseada por Salvador Dal en 1945 para el film Recuerda de Alfred Hitchcock. 75p. El sueo, el subconsciente, la representacin onrica y las evocaciones de idea en apariencia sin sentido, pero que confrontada permiten descifrar significados varios, a veces incluso descifrar significados varios, a veces incluso contradictorios, son parte de la materia prima empleada en estas obras, hoy tan admiradas y que tanto estupor causaron en su da. 75p. De Aristteles a Woody Allen Pedro L. Cano Hablar, por fin, de peripecia (peripteia) o reconocimiento (anagnrisis), cuya insinuacin y posterior aplazamiento crea el suspense, sera enumerar toda la historia del cine. En una sola peripecia y un doble reconocmiento uno falso y otro autpentico, que dan paso al nudo y desenlace- se basa, por ejemplo, Vertigo de Hitchcock. 32p. Everything you alwasys wanted to know about lacan but were afraid to ask hitchcock edited S. Zizek Hitchcockian Suspense, Pascal Bonitzer Asked to name the inventor of suspense in the cinema, many people would choose D.W. Griffith. Suspense is in fact produced by editing, but it is also probably one of its immediate causes. () 15p.

If one shows an image of a knife approaching a bared throat, against one of a car racing along a road in a cloud of dust, the audience may wonder whether the later will arrive in time to prevent the time. This is, however, generally what happens, trough the editing of parallel actions, whether it is in act logically feasible or merely dictates by the morality of the drama. To a great extent, the cinema of terror or of anxiety still depends upon the principle of editing. 15p. () What, then, is the object that this anxiety or suspense releases, revives and sets going? I would hazard the response that this object, which emerged at the same time as the close-up was discovered, is, because of its characteristic malice, the gaze. 16p. According to Edgar Mortin (Les Stars), it was around 1915-20 that actors, instead of gesticulating wildly, began to stay more or less still. The turning point came with Griffith, whose films ushered in the age of close-ups and editing. 16p. It is not irrelevant to nothe that it was durin approximately the same period, give or take two or three years (1918-19), that Kouleshov made the most famous of his experiments, the Moszhokin experiment, which habitually confused with the so called Koulechov effect. Its impact depended upon the immobility of the actors face, upon its expressive neutrality when seen in close-up. What was involved was in some way a third stage, a reduction of acting to its zero degree, so that its powers might be delegated to editing alone, to the auteur. Gesture, concentration (haragei) and neutrality would thus represent three stages in a progressive domestication of the actors body, through the top, through the face, which benefited staging and editing and was a crucial to establishing the law of suspense. Hitchcock often recalled that he would keep the face neutral. 17p.

Hitchcock always used to say that the more successful the villain, the better the film. 18p. () The weight of death, murder and crime have meaning only through the proximity of a gaze. All Hitchcock has done in his films is to make the best possible use, where staging is concerned, of the function of the gaze laid bare by crime () 18p. For Hitchcockian suspense to arise, very little is required, at least as far as narrative is concerned. It is sufficient to announce, by means of some artifice or other, a catastrophic event affecting the lives of characters in the film, the assumption being that they do not question it. (this might be described, in Bacherlardian terms, as the Cassandra complex.) From this point of view, even one of the Lumiere brothers films could be Hitchcockized 18p. () This is how fiction is introduced, for, as Godard has observed actually with reference to Hitchcock it is the gaze which creates fiction. 19p. Such is the function of crime in Hitchcocks films. For crime drives both the natural order of things and the natural order of cinema off course, by introducing a stain which precipitates a gaze and so brings about a fiction. Evil itself is a stain. Hitchcocks films can therefore work only if a natural order is presupposed. Everything is proceeding normally, according to routines that are ordinary, even humdrum and unthinking, until someone notices that an element in the whole, because of its inexplicable behavior, is a stain. The entire sequence of events, unfold from that point. 20p.

Hitchcockian narrative obeys the law that the more a situation is somewhat a priori, familiar or conventional, the more it is liable to become a disturbing or uncanny, once one of its constituent element begins to turn against the wind. Scenario and staging consist merely in constructing a natural landscape with its perverse element, and in then charting the outcome. Suspense, by contrast with the accelerated editing of races and chases, depends upon the emphasis which the staging places upon the progressive contamination, the progressive or sudden perversion of the original landscape. The staging and editing of the suspense serve to draw the audiences attention to the perverse element. The films movement invariably proceeds from landscape to stain from overall shot to close-up, and this movement invariably prepares the spectator for the event. Hitchcock systematically opposes suspense to surprise. He prides himself not so much on directing the actors since he asks of his actor merely that they remain neutral, so that he can then edit a scene, a neutrality which he in fact takes some pleasure in testing by introducing postures which are frequently difficult, if not acrobatic as on directing the audience. 23p. The perverse element, the anormaly and the stain which precipitate and justify the marvels of staging, do not function only in the domain of crime and politics, but also in that of erotism. The essence of Hitchcockian suspense is eroticism, and Hithcockian editing is an erotic editing. As is well known, Hitchcock makes films about the couple, and what interests him in couples is, more specifically, coupling, or what he terms love at work. How is one to show love at work? In what way can one show coupling? Critics have emphasized how, in spite of the censor, Hitchcock often represented sex on the screen, by employing such procedures as metaphor, inversion or fragmentation, and so on. Yet one does not represent sex by representing coupling. Sex is indeed the object of suspense

in Hitchcocks best films; we invariably want to know when, at what precise moment the hero and the heroine can at last be reunited but coupling is one of suspenses main modalities. 24p. Suspense is thus indeed achieves through editing, but Hitchcock; in contrast to the Griffithian acceleration of parallel actions, employs an editing of convergent actions in homogeneous space, which presupposes slow motion and is sustained by the gaze, itself evoked by a third element, a perverse object or a stain. The remarkable formal invention precipitated and polarized by this structure, in the admitted absence of any real emotional depth in Hitchcocks films (a shortcoming for which he has been much criticized), makes his staging of inestimable importance. 28p. The Spectator Who Knew Too Much - Mladen Dolar Why would the anticlimax be produced by an event that was entirely expected and serves as the very basis of suspense? The expectation is then let down precisely because the expected happens and the audience feels cheates because it got precisely what I wanted. () 131p. () So the function of the blot is finally nothing but the developed form and the reflected expression of the function of the gaze which is structured by the oscillation of this gaze, concentrated in one point. In it, the zero degree achieves its positive expression. 134p. A Father Who is Not Quite Dead Mladen Dolar

Since the ending cannot remain empty (as a McGuffin can), it also bring a certain effect of disappointment. The suspicion is confirmed or rejected; the suspense turns into certainty. 146p. Notorious Pascal Bonitzer Suspense is therefore a kind of perversion, a form of sickness affecting not only the cinematographic duration (with its comprenssion and ilation) but also objects and mode of behavior. () The more familiar or banal an object or act is, the greater its capacity to inspire terror. We are concerned here with the ambiguity between the Heimlich and the unheimlich. 153p.