La voluntad de valor en el cine de Isabel Coixet

María Donapetry

doi:10.3989/arbor.2012.758n6009

Abstract

Some ethical attitudes and concerns of Isabel Coixet’s cinema are examined here. Special attention is paid to the possible meaning of silence in the case of The Secret Life of Words , and to the transformation of the male gaze in the case of Elegy . In both films it is considered that Coixet expresses her ideas through emotions as a way to reach the kind of consciousness which links emotions and ethics.

Highlights

Some ethical attitudes and concerns of Isabel Coixet’s cinema are examined here
La responde con claridad meridiana Carl Plantinga, quien explica: (1) a pleasurable affective experience is one of the primary motivations for film viewing; (2) emotions provide narrative and character information and are necessary to fully understand a narrative film; (3) emotions and affects, whether pleasurable or not, are a central element of the phenomenological experience of the cinema; (4) emotions are intimately tied to cognitions, and for this reason affective experience, meaning, and interpretation are firmly intertwined; and (5) motions as experienced in films have powerful rhetorical functions and contribute to a film’s ideological effects. (Plantinga, 2009, 86)
Hasta que Hanna empieza a rehacer su vida con Josef, entendemos, esa voz aparece como si incorporara, encarnara en sonidos, la memoria de su pasado: algo que la ata a ese pasado que ha sobrevivido pero del que no se puede alejar por miedo a no saber quién o qué es

Summary

Introduction

Some ethical attitudes and concerns of Isabel Coixet’s cinema are examined here. Special attention is paid to the possible meaning of silence in the case of The Secret Life of Words, and to the transformation of the male gaze in the case of Elegy. Las más de las veces la directora escribe el guión de sus películas, como en Mi vida sin mí (2003) o La vida secreta de las palabras (2005), entre otras; Elegy (2008) es un caso especial ya que en ésta Coixet dirige la adaptación de un texto literario de otro autor: la novela The Dying Animal de Philip Roth.2 Sea como fuere, su impronta es reconocible: hace que la historia sea suya y que la compartamos desde su punto de vista.

Results

Conclusion