El quiasmo como desvelo de la otredad: proyecciones especulares y distorsión de la monstruosidad en Los Otros (2001), de Alejandro Amenábar

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

    Universidad de Jaén

    Jaén, España

    ROR https://ror.org/0122p5f64

Revista:
The Grove: Working papers on English studies

ISSN: 1137-005X

Año de publicación: 2019

Número: 26

Páginas: 41-70

Tipo: Artículo

DOI: 10.17561/GROVE.V26.A3 DIALNET GOOGLE SCHOLAR lock_openAcceso abierto editor

Otras publicaciones en: The Grove: Working papers on English studies

Resumen

Pivotando en torno al personaje epicéntrico de Grace Stewart, nuestra aproximación pretende sumergirse en el imaginario de fantasmagoría, violentación y monopolización del punto de vis ta unívoco en Los otros a fin de subrayar las claves de una necesaria deconstrucción de la voz y el discurso de la madre oscura. Las múltiples lecturas periféricas y resistentes, además de ciertos indicios figurativos — con el quiasmo como constante — refrendan el papel de aquella como antagonista falible y esquizoide.

Referencias bibliográficas

  • Altemir Giral, Anabel, Ibáñez Rosales, Ismael. “Otherness in The Others. Haunting The Catholic Other, Humanizing The Self”. Roman Catholicism in Fantastic Film: Essays on Belief, Spectacle, Ritual and Imagery. Ed.Regina Hansen. North Carolina and London:Mc Farland, 2011.275-86.
  • Amenábar, Alejandro. Los otros. El libro. Madrid: Ocho y medio, 2001.
  • Arnold, Sarah. Maternal Horror Film: Melodrama and Motherhood. New York: Palgrave MacMillan, 2013. DOI: https://doi.org/10.1057/9781137014122
  • Bakhtin, Mikhail. Rabelais and his World. Bloomington: Indiana University Press, 1984.
  • Barthes, Roland. Camera Lucida. London: Vintage, 1993.
  • Becker, Susan. Gothic Forms of Feminine Fiction. Manchester: Manchester University Press, 2012.
  • Briefel, Aviva. “What Some Ghosts Don't Know: Spectral Incognizance and the Horror Film”. Narrative Vol. 17, No. 1 (Jan., 2009): 95-110. DOI: https://doi.org/10.1353/nar.0.0011
  • Bruce, Susan. “Sympathy For the Dead: (G)hosts, Hostilities and Mediums in Alejandro Amenábar’s “The Others” and Postmortem Photography”. Discourse, vol. 27.2/3 (2005): 21-40. DOI: https://doi.org/10.1353/dis.2007.0001
  • Burkholder-Mosco, Nicole, Carse, Wendy. “Wondrous Material to Play On: Children as Sites of Gothic Liminality in The Turn of the Screw, The Innocents, and The Others”. Studies in the Humanities. Vol. 32.2 (2005): 201-220.
  • Cambra, Rosalba. Territorios de la ficción. Salamanca: Renacimiento Iluminaciones, 2008.
  • Clover, Carol J. “Her Body, Himself: Gender in the Slasher Film”. Representations 20 Misogyny, Misandry, and Misanthropy (Autumn, 1987): 187-228. DOI: https://doi.org/10.2307/2928507
  • Creed, Barbara “Horror and the Monstrous-Feminine: An Imaginary Abjection”. Horror: the Film Reader. Ed. Mark Jankovich. Londonand New York: Routledge, 2002. 68-76.
  • England, Marcia. “Breached Bodies and Home Invasions: Horrific Representations of the Feminized Body and Home”. Gender, Place and Culture, vol. 13.4 (2006): 353-63. DOI: https://doi.org/10.1080/09663690600808452
  • Friedman, Seth A. “Cloaked Classification: The Misdirection Film and Generic Duplicity”. Journal of Film and Video 58 (2006): 16–28. Hock Soon NG, Andrew.Women and Domestic Space in Contemporary Gothic Narratives. The House as Subject. New York: Palgrave, 2015.
  • Huggan, Graham. “Ghost Stories, Bone Flutes, Cannibal Countermemory”. The Horror Reader. Ed. Ken Gelder. London & New York: Routledge, 2000. 352-63. DOI: https://doi.org/10.4324/9780203138618-28
  • Juan-Navarro, Santiago. “Trapped In the House of Mirrors The Others as a Transnational Postmodern Gothic Thriller”. Tracing the Borders of Spanish Horror: Essays on Contemporary Spanish Horror Cinema and Television. Ed. Jordi Marí. New York and London: Routledge, 2017. 15-33. DOI: https://doi.org/10.4324/9781315229249-2
  • Kristeva, Julia. The Powers of Horror: An Essay on Abjection. New York: Columbia University Press, 1982.
  • Lavik, Erlend, “Narrative Structure in The Sixth Sense: A New Twist in ‘Twist Movies’?”. Velvet Light Trap. 58 (2006): 55–64. DOI: https://doi.org/10.1353/vlt.2006.0031
  • Lewis, John. “Mother Oh God Mother...”: Analysing the “Horror” of Single Mothers in Contemporary Hollywood Horror. Scope, 2 (2005). Web. 27 marzo 2019. <https://www.nottingham.ac.uk/scope/issues/2005/june-issue-02.aspx>
  • López, José L. De Almodóvar a Amenábar. El nuevo cine español. Madrid: Notorious Ediciones, 2005.
  • Moers, Ellen. Literary Women. Garden City, N.Y.: Doubleday, 1976.
  • Morris, Davis B. “Gothic Sublimity”. New Literary History 16.2 (1985): 299-319. DOI: https://doi.org/10.2307/468749 Redmon, Allen H. “After Everything I've Seen": Rewatching Shutter Island as a Knowing Audience”. Adaptation 8.2 (2015): 254-67. DOI: https://doi.org/10.1093/adaptation/apv017
  • Russo, Mary. “Female Grotesque: Carnival and Theory”. Writing on the Body. Eds. Katie Conboy, Nadia Medina & Sarah Stanbury. New York: Columbia University Press, 1997. 318-336.
  • Sibley, David. Outsiders in Urban Societies. New York: St. Martin Press, 1981.
  • Sontag, Susan. On Photography. Hardmonsworth: Penguin, 1979.
  • Torrance, Isabelle. “Retrospectively Medea: The Infanticidal Mother in Alejandro Amenábar's Film The Others”. Unbinding Medea: Interdisciplinary Approaches to a Myth From Antiquity to the 21st Century. Eds. Heike Bartel, Anne Simon. New York: Legenda. Modern Humanities Research Association and Maney Publishing, 2010. 124-34. DOI: https://doi.org/10.4324/9781315084466-9
  • Whitesell, Lloyd. “Quieting the Ghosts in The Sixth Sense andThe Others”. Ed. Neil Lerner. Music in the Horror Film: Listening to Fear. New York: Routledge, 2010. 206-223.
  • Williams, Tony. Hearths of Darkness: The Family in the American Horror Film. Madison: Fairleigh Dickinson University Press, 1996.