Keywords
metalepsis
simulacrum
image
road movie
cine latinoamericano
metalepsis
simulacro
imagen
película de viaje
Abstract
Güeros is a 2014 Mexican film directed by Alonso Ruizpalacios. The analysis of the film has as its theoretical framework the postulates of Gerard Genette and Jean Baudrillard on metalepsis and simulacrum respectively. This reading analyses the dichotomy between the real and the simulacra constructed by television and film images and focuses on the importance of the journey as a mechanism for the reconstruction of subjectivity, for this reason, it has been prioritized the transit experienced by the protagonist, Shadow, and his transformation into an observant subject and conscious participant of his time.
References
Baudrillard, J. (1978). Cultura y simulacro: La precesión de los simulacros. El efecto Beaubourg. A la sombra de las mayorías silenciosas. El fin de lo social. Kairós.
Baudrillard, J. (1988). De la séduction. Denoël.
Genette, G. (1989). Figuras III. Lumen.
Levine, S. (21 de mayo de 2015). Interview: In Güeros Dir. Alonso Ruizpalacios Rediscovered Mexico City Via a Unique Road Trip. SydneysBuzz The Blog. https://blogs.sydneysbuzz.com/interview-in-g%C3%BCeros-dir-alonso-ruizpalacios-rediscovered-mexico-city-via-a-unique-road-trip-4f1089792a0b
Llamas, F. (2022). Canciones viejas para una ciudad moderna: la evocación musical en la película Güeros de Alonso Ruizpalacios. Discurso Visual, (49), 17-24. https://www.discursovisual.net/dvweb49/TC_49-02.html
Ruizpalacios, A. (Director). (2014). Güeros [Película]. Catatonia Films; Conaculta; Difusión Cultural UNAM.
Sánchez, M. (2020). Cinematic landscapes as constructors and disruptors of societal norms and values. Case studies of Roma (2018) and Güeros (2014). [Tesis de maestría, Tallinn University School of Humanities]. https://tase20.artun.ee/wp-content/uploads/2020/06/MAThesis-MariaDelMarSanchezBernal-LVFS2020-2.pdf
Torres-Castro, C. (2022). Lejos de Veracruz: Of Urban (Sound)Scapes and Fallen Idols in Güeros (2014). Latin American and Latinx Visual Culture, 4 (4), 26–39. https://doi.org/10.1525/lavc.2022.4.4.26
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