Virtual image, real image
Dunkerque | Christopher Nolan | 2017
Françoise Moscovitz

Abstract

The author interprets the discomfort and anger that she felt when she saw the chronicle of the operation Dynamo, Dunkirk, from the fright generated through the music, the insistent plans about the wounded and the dead. An insult to these dead heroes. This type of film can have a pedagogical character, but it is more about enjoying an awful spectacle. The spectator witnesses a history of the past but leaves it in a passive position.

The author also analyzes the degree of tolerance: there is acceptable violence and another that is not. It also distinguishes the productions that are directed to the destructive impulses of those that deal with releasing the spectator. In the case of this film, it is only about the inhumanity of blind destruction. Finally, he reflects on the relationship between cinema and art but also has a relationship with the production industry that seeks to dazzle and move viewers.

Key Words: Show | War | Representation | Violence | Image

This article is, for the time being, only available in Spanish: Imagen virtual, imagen real and French: Image virtuelle – Image réelle


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Volumen 8 | Nº 2

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