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Publication
La magia en la animación de Jan Švankmajer
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Advisor(s)
Abstract(s)
Interrelación de la antropología con las obras de animación del artista Jan Švankmajer. Especialmente incurriendo en su contenido mágico y presente en su narrativa y heterogéneos objetos empleados. Tomando, así pues, la definición de magia como un fenómeno social, arte o ciencia oculta con que se pretende producir, valiéndose de ciertos actos o palabras, o con la intervención de seres con resultados contrarios a las leyes naturales. Además, y según los principios sobre magia de James George Frazer, y revisados por Marcel Mauss; expresan que las cosas, se pueden relacionar unas con otras, pero no de forma arbitraria, sino con una asociación por semejanza y contigüidad; es decir, que todo lo que se haga a un objeto material, afectará de igual modo a la persona con quien este objeto estuvo en contacto, haya o no formado parte de su propio cuerpo. Por consiguiente, esa experiencia mágica o cambio cualitativo de la realidad, está adyacente en los objetos de la cinematografía de Švankmajer. Encarnando; a su vez, emociones y estados subversivos que inciden en una imaginación simbólica, en la que ayude al público, a pensar en ser, más humanos. De hecho, los filmes del autor checo, así como sus diversas piezas artísticas, pretenden transgredir su significado convencional, y alterar su uso más común, en otros sentidos y conceptos. Aparte de suscitar en la mente del espectador, un enigma, o sea; el decir cosas reales relacionando cosas imposibles. En conclusión, la magia acontecida en sus animaciones surrealistas, se transforman en un ente amenazador, que nos advierte de la fragilidad de las normas, y cometidos de nuestra sociedad; por muy pragmáticos que sean. El objeto poseído en sí mismo, adquiere una lectura ideológica y maravillosa que escenifica una ruptura transitoria de la sociabilidad.
Interrelation of anthropology with the animation works of the artist Jan Švankmajer. Especially, incurring its magical content, and present in its narrative and heterogeneous objects and/or dolls used. Taking, therefore, the definition of magic as a social phenomenon, art or occult science that is intended to be produced, using certain acts or words, or with the intervention of beings with results contrary to natural laws. Furthermore, and according to the principles of magic by James George Frazer, and reviewed by Marcel Mauss; They express that things can be related to each other, but not arbitrarily, but with an association by contiguity; That is to say, everything that is done to a material object will equally affect the person with whom this object was in contact, whether or not it formed part of their own body. Consequently, this magical experience or qualitative change of reality is adjacent to the objects of Švankmajer's cinematography. Embodying; in turn, emotions and subversive states that influence a symbolic imagination, in which it helps the public to think about being more human. In fact, the Czech author's films, as well as his various artistic pieces, attempt to transgress their conventional meaning, and alter their most common use, in other senses and concepts. Apart from raising an enigma in the viewer's mind, that is; saying real things relating impossible things. In conclusion, the magic that occurs in its surreal animations transforms into a threatening entity, which warns us of the fragility of the norms and tasks of our society; no matter how pragmatic they are. The possessed object in itself acquires an ideological and wonderful reading that stages a temporary rupture of sociability.
Interrelation of anthropology with the animation works of the artist Jan Švankmajer. Especially, incurring its magical content, and present in its narrative and heterogeneous objects and/or dolls used. Taking, therefore, the definition of magic as a social phenomenon, art or occult science that is intended to be produced, using certain acts or words, or with the intervention of beings with results contrary to natural laws. Furthermore, and according to the principles of magic by James George Frazer, and reviewed by Marcel Mauss; They express that things can be related to each other, but not arbitrarily, but with an association by contiguity; That is to say, everything that is done to a material object will equally affect the person with whom this object was in contact, whether or not it formed part of their own body. Consequently, this magical experience or qualitative change of reality is adjacent to the objects of Švankmajer's cinematography. Embodying; in turn, emotions and subversive states that influence a symbolic imagination, in which it helps the public to think about being more human. In fact, the Czech author's films, as well as his various artistic pieces, attempt to transgress their conventional meaning, and alter their most common use, in other senses and concepts. Apart from raising an enigma in the viewer's mind, that is; saying real things relating impossible things. In conclusion, the magic that occurs in its surreal animations transforms into a threatening entity, which warns us of the fragility of the norms and tasks of our society; no matter how pragmatic they are. The possessed object in itself acquires an ideological and wonderful reading that stages a temporary rupture of sociability.
Description
Keywords
Jan Švankmajer Magia Magia Animación Surrealismo Magic Anthropology Animation Surrealism . Faculdade de Artes e Humanidades
Citation
Pascual Galbis, P. (2024). La magia en la animación de Jan Švankmajer. Editorial Universitat Politècnica de València. https://doi.org/10.4995/ANIAV2024.2024.18654
Publisher
Editorial Universitat Politècnica de València