Desposesión y desencanto del espectro contemporáneoel fantasma en I Am a Ghost (2012), I Am the Pretty Thing that Lives in the House (2016) y A Ghost Story (2017)

Abstract

Ghosts have invaded the film screen since the very beginningof cinema. They have become icons of otherness showing different degrees ofvisibility, always representing an intrusion from the margins of the excluded,like an ominous force that impels us to solve their enigma in order to neutralizetheir threatening presence and, thus, restore the logical and quotidianorder. The postmodern ghost, however, as presented in I am a Ghost (2012),I am the Pretty Thing that Lives in the House (2016) and A Ghost Story (2017),emerges as a suspended sign illustrating our fragmented essence, so standingas an unresolvable sign. These films epitomize the new trend of cinematicghosts, reflections on our fading into extinction, disorientation and doubtsabout life after death, stories in which the ghost's point of view —and eventheir narrative voice— is adopted, their physicality on screen granted, when confessing their (our) existential grief.