El sentido de lo abisal en «Insidious»James Wan y Joseph Bishara. Sintaxis y síntesis del horror

  1. Olivares Merino, Julio Ángel 1
  1. 1 Universidad de Jaén
    info

    Universidad de Jaén

    Jaén, España

    ROR https://ror.org/0122p5f64

Revista:
Brumal. Revista de Investigación sobre lo Fantástico / Brumal. Research Journal on the Fantastic
  1. Roas, David (coord.)

ISSN: 2014-7910

Año de publicación: 2018

Título del ejemplar: Horror and the Fantastic

Volumen: 6

Número: 2

Páginas: 283-305

Tipo: Artículo

DOI: 10.5565/REV/BRUMAL.491 DIALNET GOOGLE SCHOLAR lock_openAcceso abierto editor

Otras publicaciones en: Brumal. Revista de Investigación sobre lo Fantástico / Brumal. Research Journal on the Fantastic

Resumen

Following the maxims of suspense and the foundational hallmarks of classic horror, James Wan manages to go a step beyond in Insidious, adequately updating and refreshing these seminal parameters and their effect. The director composes a narrative sequence in which the motifs of phantasmagoria and cosmic horror pivot around desemanticization and aporia, formal and content deformity or uncertainty both leading to a constant breakdown of logic and the inverted or anomalous rendition of the domestic and familiar. For this purpose, the essence of Joseph Bishara's atonal and blasting modes crucially and significantly stand out in the text. His atmospheric layers and disrupting syntax epitomize defamiliarization and fragmentation as dramatically related to the convulsive image, perplexity, silence and sensitive aggression, all of them illustrating the sense of fissure and the abyss in the film.

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Fuente de los datos: Dialnet