Las firmas autorales y el lenguaje cinematográfico de Elia Suleiman como Autor en el cine Palestino contemporáneo
Barra lateral del artículo
Contenido principal del artículo
Resumen
Suleiman es un cineasta palestino de renombre internacional cuyas películas han cautivado a audiencias internacionalmente y se han vuelto universales. Ha recibido elogios de numerosos críticos de todo el mundo y ha sido nominado para múltiples premios en festivales de cine internacionales, ganando varios de ellos. Divine Intervention, dirigida por Suleiman, ganó el Premio Elección del Jurado en el Festival de Cine de Cannes 2002, considerado como el segundo honor más significativo después de la Palma de Oro. Además, se convirtió en el primer director palestino en ganar un premio de la Academia de Cine Europea. A través del análisis del lenguaje cinematográfico y de los elementos recurrentes en el cine de Elia Suleiman bajo la teoría del autor, se puede argumentar que Suleiman es un verdadero autor cuyo cine exhibe muchas firmas autorales: comedia negra, no linealidad y repetición, un estilo de edición distintivo, una cámara fija, silencio, autorreflexividad y un encuadre simétrico. Además, el tema principal de sus obras es la representación de las circunstancias sociopolíticas que rodean problemas de identidad y desplazamiento.
Descargas
Detalles del artículo
Esta obra está bajo una licencia internacional Creative Commons Atribución-NoComercial-SinDerivadas 4.0.
Bibliografía
BERLINER, Todd (2017), Hollywood Aesthetic: Pleasure in American Cinema (New York; online ed., Oxford Academic, 20 Apr. 2017), https://doi.org/10.1093/acprof:oso/9780190658748.001.0001
BESSI, Nizar (2016), Du cinéma militant au cinéma résistant: Le regard décalé d’Elia Suleiman, Mémoire de maîtrise, Département d’histoire de l’art et d’études cinématographiques, Faculté des arts et des sciences, Université de Montréal.
BRERETON, Geoffrey (1977), French Comic Drama from the Sixteenth to the Eighteenth Century, London: Routledge. https://doi.org/10.4324/9781003279945 DOI: https://doi.org/10.4324/9781003279945
BRESHEETH, Haim (2001), «Telling the Stories of Heim and Heimat, Home and Exile: Recent Palestinian Films and the Iconic Parable of the Invisible Palestine». New Cinemas: Journal of Contemporary Film. https://doi.org/10.1386/ncin.1.1.24 DOI: https://doi.org/10.1386/ncin.1.1.24
BRETON, André (1997), Anthology of Black Humor, San Francisco: City Lights Books.
CARPIO, Glenda (2008), Laughing Fit to Kill: Black Humor in the Fictions of Slavery, Oxford: Oxford University Press.
CHAMARETTE, Jenny (2014), «Absurd Avatars, Transcultural Relations: Elia Suleiman, Franco-Palestinian Filmmaking and Beyond», Modern & Contemporary France, Vol. 22, Nº 1, pp. 85–102. https://doi.org/10.1080/09639489.2013.867152 DOI: https://doi.org/10.1080/09639489.2013.867152
DABASHI, Hamid (2006), «In Praise of Frivolity: On the Cinema of Elia Suleiman», en Id., Dreams of a Nation: Palestinian Cinema, London: Verso Books.
DANCYGER, Ken and RUSH, Jeff (2013), Alternative Scriptwriting: Beyond the Hollywood Formula, New York: Routledge. DOI: https://doi.org/10.4324/9780240522470
DEBRA J. H. Mathews, HILARY Bok and PETER V. Rabins, (2009), Personal Identity and Fractured Selves: Perspectives from Philosophy, Ethics, and Neuroscience, Baltimore: Johns Hopkins University Press.
ELSAESSER, Thomas and Barker, ADAM (1990), Early Cinema: Space, Frame, Narrative, London: British Film Institute Pub. DOI: https://doi.org/10.5040/9781838710170
FUERY, Patrick (2017), New Developments in Film Theory, Bloomsbury Publishing.
GARRITANO, Carmela and HARROW Kenneth (2019), A Companion to African Cinema, Wiley-Blackwell. https://doi.org/10.1002/9781119100577.index DOI: https://doi.org/10.1002/9781119100577.index
GERTZ, Nurith and KHLEIFI, George (2008), Palestinian Cinema, Landscape, Trauma and Memory, Edinburgh: Edinburgh University Press. https://doi.org/10.3366/edinburgh/9780748634071.001.0001 DOI: https://doi.org/10.3366/edinburgh/9780748634071.001.0001
GUGLER, Josef (2015), Ten Arab Filmmakers: Political Dissent and Social Critique, Indiana University Press. https://iupress.org/9780253016522/ten-arab-filmmakers/ .
HALABI, Zeina (2021), «It Must Be Palestine: Zeina Halabi Interviews Elia Suleiman», Safar Journal, pp. 3-23.
https://www.academia.edu/53011035/It_Must_Be_Palestine_Zeina_Halabi_Interviews_Elia_Suleiman
HUDSON, Sarah (2017), Modern Palestinian Filmmaking in a Global World, Fayetteville: University of Arkansas.
IBRAHIM, Bashar (2005), Three Symbol of New Palestinian Cinema, ALMada P.C.
INDIANA, Gary (1997). «Gary Indiana on Elia Suleiman’s Chronicle of a Disappearance», Artforum, Summer, Vol. 35, Nº. 10. pp. 27-28 https://www.artforum.com/print/199706/elia-suleiman-s-chronicle-of-a-disappearance-32785
JOHNSON, Mary (2013), The New Scriptwriter's Journal, Taylor & Francis.
JONES, Shelly (2021), Watch Us Roll: Essays on Actual Play and Performance in Tabletop Role-Playing Games, McFarland & Company Inc.
KAUFMAN, Anthony (1997), «Seven Questions for Elia Suleiman, Director of Chronicle of a Disappearance», Interview by ANTHONY KAUFMAN. Indiewire, 28 March 1997. http://www.indiewire.com/1997/03/seven-questions-for-elia-suleiman-director-of-chronicle-of-a-disappearance-83546/
KAZECKI, Jakub, RITZENHOFF, Karen and Cynthia J. Miller (2013), Border Vision: Identity and Diaspora in Film, Lanham: The Scarecrow Press.
KHADER, Nehad (2015), «Interview with Elia Suleiman: The Power of Ridicule», Journal of Palestine Studies, Vol. 44, Nº. 4, pp. 21–31. https://doi.org/10.1525/jps.2015.44.4.21 DOI: https://doi.org/10.1525/jps.2015.44.4.21
LIONIS, Chrisoula (2013), The Emergence of Humour in Palestinian Art and Film, The National Institute for Experimental Arts, College of Fine Arts, UNSW, Sydney https://doi.org/10.26190/unsworks/16335
MILLER, Toby and STAM, Robert (2004), A Companion to Film Theory, Blackwell. DOI: https://doi.org/10.1111/b.9780631206453.2003.x
MOKDAD, Linda (2012), «The Reluctance to Narrate: Elia Suleiman’s Chronicle of a Disappearance and Divine Intervention», in Story Telling in World Cinemas, Columbia University Press, pp.192-204. DOI:10.1002/9780470998410 DOI: https://doi.org/10.7312/khat16204-017
NAFICY, Hamid (2001), An Accented Cinema: Exilic and Diasporic Filmmaking, Princeton: Princeton University Press. https://doi.org/10.2307/j.ctv346qqt DOI: https://doi.org/10.1515/9780691186214
NASHEF, Hania A.M. (2023), «Songs of Nostalgia: Creative activism and exile in Elia Suleiman's It Must be Heaven and Panah Panahi's Hit the Road», Regards, Vol. 30, pp. 73-90. DOI: https://doi.org/10.70898/regards.v0i30.872
NICHOLS, Bill (1985), Movies and Methods, University of California Press.
PAMERLEAU, William. C. (2009), Existentialist Cinema. New York: Palgrave-Macmillan. DOI: 10.1057/9780230235465 DOI: https://doi.org/10.1057/9780230235465
PEACOCK, Louise (2020), A Cultural History of Comedy in the Early Modern Age, Bloomsbury Publishing Plc. DOI: https://doi.org/10.5040/9781350187849
PLUNKA, Gene (2001), The Black Comedy of John Guare, London: University of Delaware Press.
SARRIS, Andrew (1963), «Notes on the Auteur Theory in 1962», Film Culture.
SHILINA, Tanya (2013), «Imaginal Border Crossings and Silence as Negative Mimesis in Elia Suleiman’s Divine Intervention (2002)», in KAZECKI, Jakub, RITZENHOFF, Karen and MILLER, Cynthia, Border Visions: Identity and Diaspora in Film, Lanham, MD: Scarecrow Press, pp. 3-21.
SULEIMAN, Elia (2000), «A Cinema of Nowhere: Interview with Elia Suleiman», Journal of Palestine Studies. Vol. 29, Nº. 2 (Winter, 2000), pp. 95-101 https://doi.org/10.2307/2676539 DOI: https://doi.org/10.1525/jps.2000.29.2.02p0033q
SULEIMAN, Elia (2011), «The Other Face of Silence, Nathalie Handal interviews Elia Suleiman», Columbia University (2011, May 1), http://palestine.mei.columbia.edu/the-north/2016/6/14/elia-suleiman
SULEIMAN, Elia. (2003). «The Occupation (and Life) Through an Absurdist Lens», Journal of Palestine Studies, Vol. 32, Nº. 2, pp. 63–73. https://doi.org/10.1525/jps.2003.32.2.63 DOI: https://doi.org/10.1525/jps.2003.32.2.63
TRUFFAUT, Francois [2004 (1954)], «A Certain Tendency in French Cinema», in SIMPSON, Philip, UTTERSON, Andrew and SHEPHERDSON, K.J., Film Theory: Critical Concepts in Media and Cultural Studies, London: Routledge.
VAN DE PEER, Stefanie and DAVIES HAYON, Kaya (2024), Transnational Arab Stardom: Glamour, Performance and Politics, Bloomsbury Publishing.
VARGAS, Maia Gattás (2021), «Invoking Lost Landscapes from Exile: The Works of Elia Suleiman and Walid Raad», Diversidad.Net Magazine, Vol. 18, Nº 13, pp. 48-70.
WALKER, Nancy (1998), What’s So Funny?: Humor in American Culture, Rowman & Littlefield Publishers.
WEYL, Hermann (1952), Symmetry, Princeton University Press. DOI: https://doi.org/10.1515/9781400874347
WHITE, Rob (2010), «Sad Times: An Interview with Elia Suleiman», Film Quarterly, Vol. 64, Nº 1, pp. 38–45. https://doi.org/10.1525/fq.2010.64.1.38 DOI: https://doi.org/10.1525/FQ.2010.64.1.38
WILKINS, Kim (2019), American Eccentric Cinema, Bloomsbury Academic, Bloomsbury Publishing Inc. DOI: https://doi.org/10.5040/9781501336942
WOLLEN, Peter (2013), Signs and Meaning in the Cinema, Palgrave Macmillan. DOI: https://doi.org/10.5040/9781838710408
WOOD, Jason (2006), «Talking Movies – Contemporary World Filmmakers», Interview, Wallflower Press.