El cuerpo, la piel y la pantalla: los territorios habitados por Pedro Almodóvar
DOI:
https://doi.org/10.24310/Fotocinema.2013.v0i7.5931Abstract
En este artículo se estudian las implicaciones que tiene en La piel que habito la cuestión del cuerpo y de su territorio. Las interrogaciones sobre la identidad del sujeto, presentes en toda la filmografía de Pedro Almodóvar, alcanzan aquí su culminación concerniendo no solamente a la identidad del individuo sino también a la de las obras.El juego de correspondencias instaurado por Pedro Almodóvar entre la cirugía plástica y la costura, entre la piel y el tejido, se prolonga en la relación plástica y visual que se establece entre la pantalla y el cuadro pictórico para desembocar en el trabajo del cine como arte del ensamblaje y la sutura. Para explorar las múltiples pistas que ofrece la película, la autora se vale de referencias a la mitología, al concepto de “Yo-Piel” creado por Didier Anzieu y a la dimensión háptica de la imagen desarrollada por Gilles Deleuze.
In this article are studied the implications of the body’s question and its territory in The Skin I Live In. The interrogations about the identity of the subject, which are present in the whole filmography of Pedro Almodovar, are reaching here their culmination point concerning not only the identity of the individual, but also the identity of the movies.The concept of the cinematographic art as an assembling and seaming art is echoed in the plastic and visual relation that is established between screen and painting, as Pedro Almodovar institutes a matching game between plastic surgery and sewing, between skin and tissue.
To explore the multiple clues that offers the movie, the author uses references to mythology, to the concept of “I-Skin” developed by Didier Anzieu and to the haptic of pictures developed by Gilles Deleuze.
Palabras clave: Almodóvar ; La piel que habito ; Moi-Peau ; pintura ; mitología ; transtextualidad.
Keywords: Almodovar; The Skin I Live In; Moi-Peau; Painting; Mitology; Transtextuality.
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