{"id":6690,"date":"2018-12-02T14:59:32","date_gmt":"2018-12-02T20:59:32","guid":{"rendered":"https:\/\/comunicacion.uaa.mx\/revista\/?p=6690"},"modified":"2019-01-22T16:57:40","modified_gmt":"2019-01-22T22:57:40","slug":"un-pequeno-analisis-de-waltz-with-bashir","status":"publish","type":"post","link":"https:\/\/comunicacion.uaa.mx\/revista\/?p=6690","title":{"rendered":"Un Peque\u00f1o An\u00e1lisis de Waltz with Bashir"},"content":{"rendered":"<p style=\"text-align: justify;\"><strong>Sinopsis:<\/strong><\/p>\n<p style=\"text-align: justify;\">Documental animado sobre la matanza de refugiados palestinos en Sabra y Chatila en 1982, estructurado por participantes del acto en un sentido de recreaci\u00f3n con tintes surrealistas.<\/p>\n<p><em><strong>De qu\u00e9 va<\/strong><\/em><\/p>\n<p style=\"text-align: justify;\"><em>Waltz with Bashir\u00a0<\/em>comienza con una secuencia on\u00edrica sobre una jaur\u00eda de perros recorriendo las calles de Jerusal\u00e9n,\u00a0 hasta detenerse frente a una vivienda en que un hombre en una ventana nota el asedio de peligro infundido por ellos. Desde este punto, unos segundos despu\u00e9s, se presenta al personaje principal del relato documental, o, un doble animado de \u00e9l: Ari Folman, que discute con un amigo (el protagonista del sue\u00f1o) que se nota seguro del porqu\u00e9 de su sue\u00f1o, relacion\u00e1ndolo con su participaci\u00f3n en la guerra de L\u00edbano. \u00c9ste es el punto de conflicto e introducci\u00f3n real al tema, en que Folman ve sustituido sus recuerdos sobre la guerra por una visi\u00f3n m\u00e1s bien ilusoria sobre los hechos:<\/p>\n<p style=\"text-align: justify;\">\u00bfCu\u00e1l y c\u00f3mo fue su participaci\u00f3n en la guerra de L\u00edbano? El comienzo del viaje individual o memorial personal del protagonista.<\/p>\n<p style=\"text-align: justify;\">Es entonces que el relato toma la estructura documental basada en entrevistas y pl\u00e1ticas con amigos, compa\u00f1eros de guerra, un psic\u00f3logo, un oficial israel\u00ed y un periodista. Introduci\u00e9ndolos con una toma en un plano medio corto o close up (y un nombre), para una mayor identificaci\u00f3n con el espectador; a su vez de relacionarlos con una escena espec\u00edfica que presenta el entorno o contexto del personaje con el que se relaciona Folman.<\/p>\n<p style=\"text-align: justify;\">Ejemplificando esto \u00faltimo se puede se\u00f1alar su viaje a Holanda. Mostrando en pantalla los elementos del entorno espec\u00edfico (nevado), el territorio que comprende la propiedad de Carmi y su situaci\u00f3n familiar.<\/p>\n<p style=\"text-align: justify;\">Hablando del plano cronol\u00f3gico del documental, se observa una evoluci\u00f3n en la categor\u00eda de los entrevistados: El grado de relaci\u00f3n de Folman con los entrevistados disminuye mientras transcurre el film, al contrario que lo hace la relaci\u00f3n de \u00e9stos con la masacre o hechos en concreto.<\/p>\n<p style=\"text-align: justify;\">Nos encontramos con un inicio y una discusi\u00f3n on\u00edrica y subjetiva entre dos amigos que podr\u00edas considerar ficticios, hasta culminar con un periodista presencial de los hechos, con testimonios reales tras la matanza. Dicho en otras palabras, la coherencia narrativa va desde los elementos m\u00e1s ilusorios y fragmentados del subjetivismo (los amigos que parcha en la historia), hasta el encuentro con la objetividad y la verdad (la psic\u00f3loga, el oficial y el periodista).<\/p>\n<p style=\"text-align: justify;\">La memoria perdida y la verdad oculta bajo elementos on\u00edricos, se derrumban ante la sobrecogedora verdad: Folman se encuentra frente a frente con el horror de la matanza, mientras un travelling muestra los estragos hasta terminar en el rostro paralizado del protagonista. Es en ese punto que se da el paso de la animaci\u00f3n (subjetivismo), a la realidad, en una secuencia de escenas de archivo.<\/p>\n<p style=\"text-align: justify;\">Como punto a aclarar, la animaci\u00f3n est\u00e1 justificada para manisfestar las narraciones de la mente y el ocultamiento del hombre para no enfrentar la verdad.<\/p>\n<div class=\"likebtn_container\" style=\"\"><!-- LikeBtn.com BEGIN --><span class=\"likebtn-wrapper\"  data-identifier=\"post_6690\"  data-lang=\"es\"  data-style=\"\"  data-unlike_allowed=\"\"  data-show_copyright=\"\"  data-item_url=\"https:\/\/comunicacion.uaa.mx\/revista\/?p=6690\"  data-item_title=\"Un Peque\u00f1o An\u00e1lisis de Waltz with Bashir\"  data-item_image=\"https:\/\/comunicacion.uaa.mx\/revista\/wp-content\/uploads\/2018\/11\/Waltz-with-Bashir-1024x683.jpg\"  data-item_date=\"2018-12-02T14:59:32-06:00\"  data-engine=\"WordPress\"  data-plugin_v=\"2.6.64\"  data-event_handler=\"likebtn_eh\" ><\/span><!-- LikeBtn.com END --><\/div>","protected":false},"excerpt":{"rendered":"<p>Sinopsis: Documental animado sobre la matanza de refugiados palestinos en Sabra y Chatila en 1982, estructurado por participantes del acto en un sentido de recreaci&oacute;n con tintes surrealistas. De qu&eacute; va Waltz with Bashir&nbsp;comienza con una secuencia on&iacute;rica sobre una jaur&iacute;a de perros recorriendo las calles de Jerusal&eacute;n,&nbsp; hasta detenerse frente a una vivienda en&#8230;<\/p>\n<div class=\"likebtn_container\" style=\"\"><!-- LikeBtn.com BEGIN --><span class=\"likebtn-wrapper\"  data-identifier=\"post_6690\"  data-lang=\"es\"  data-style=\"\"  data-unlike_allowed=\"\"  data-show_copyright=\"\"  data-item_url=\"https:\/\/comunicacion.uaa.mx\/revista\/?p=6690\"  data-item_title=\"Un Peque\u00f1o An\u00e1lisis de Waltz with Bashir\"  data-item_image=\"https:\/\/comunicacion.uaa.mx\/revista\/wp-content\/uploads\/2018\/11\/Waltz-with-Bashir-1024x683.jpg\"  data-item_date=\"2018-12-02T14:59:32-06:00\"  data-engine=\"WordPress\"  data-plugin_v=\"2.6.64\"  data-event_handler=\"likebtn_eh\" ><\/span><!-- LikeBtn.com END --><\/div>","protected":false},"author":88,"featured_media":6691,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_kad_post_transparent":"","_kad_post_title":"","_kad_post_layout":"","_kad_post_sidebar_id":"","_kad_post_content_style":"","_kad_post_vertical_padding":"","_kad_post_feature":"","_kad_post_feature_position":"","_kad_post_header":false,"_kad_post_footer":false,"_kad_post_classname":"","footnotes":""},"categories":[1100],"tags":[],"class_list":["post-6690","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-cinefilia"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v28.5 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Un Peque\u00f1o An\u00e1lisis de Waltz with Bashir - Noticias<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/comunicacion.uaa.mx\/revista\/?p=6690\" \/>\n<meta property=\"og:locale\" content=\"es_MX\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Un Peque\u00f1o An\u00e1lisis de Waltz with Bashir - Noticias\" \/>\n<meta property=\"og:description\" content=\"Sinopsis: Documental animado sobre la matanza de refugiados palestinos en Sabra y Chatila en 1982, estructurado por participantes del acto en un sentido de recreaci&oacute;n con tintes surrealistas. De qu&eacute; va Waltz with Bashir&nbsp;comienza con una secuencia on&iacute;rica sobre una jaur&iacute;a de perros recorriendo las calles de Jerusal&eacute;n,&nbsp; hasta detenerse frente a una vivienda en...\" \/>\n<meta property=\"og:url\" content=\"https:\/\/comunicacion.uaa.mx\/revista\/?p=6690\" \/>\n<meta property=\"og:site_name\" content=\"Noticias\" \/>\n<meta property=\"article:publisher\" content=\"https:\/\/www.facebook.com\/locusuaa\" \/>\n<meta property=\"article:published_time\" content=\"2018-12-02T20:59:32+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2019-01-22T22:57:40+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/comunicacion.uaa.mx\/revista\/wp-content\/uploads\/2018\/11\/Waltz-with-Bashir.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"1600\" \/>\n\t<meta property=\"og:image:height\" content=\"1067\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"Jes\u00fas Armas\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:label1\" content=\"Escrito por\" \/>\n\t<meta name=\"twitter:data1\" content=\"Jes\u00fas Armas\" \/>\n\t<meta name=\"twitter:label2\" content=\"Tiempo de lectura\" \/>\n\t<meta name=\"twitter:data2\" content=\"3 minutos\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\\\/\\\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\\\/\\\/comunicacion.uaa.mx\\\/revista\\\/?p=6690#article\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/comunicacion.uaa.mx\\\/revista\\\/?p=6690\"},\"author\":{\"name\":\"Jes\u00fas Armas\",\"@id\":\"https:\\\/\\\/comunicacion.uaa.mx\\\/revista\\\/#\\\/schema\\\/person\\\/ed16271ad27885d09d49653917e3cf48\"},\"headline\":\"Un Peque\u00f1o An\u00e1lisis de Waltz with Bashir\",\"datePublished\":\"2018-12-02T20:59:32+00:00\",\"dateModified\":\"2019-01-22T22:57:40+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\\\/\\\/comunicacion.uaa.mx\\\/revista\\\/?p=6690\"},\"wordCount\":529,\"commentCount\":0,\"publisher\":{\"@id\":\"https:\\\/\\\/comunicacion.uaa.mx\\\/revista\\\/#organization\"},\"image\":{\"@id\":\"https:\\\/\\\/comunicacion.uaa.mx\\\/revista\\\/?p=6690#primaryimage\"},\"thumbnailUrl\":\"https:\\\/\\\/comunicacion.uaa.mx\\\/revista\\\/wp-content\\\/uploads\\\/2018\\\/11\\\/Waltz-with-Bashir.jpg\",\"articleSection\":[\"Cinefilia\"],\"inLanguage\":\"es\"},{\"@type\":\"WebPage\",\"@id\":\"https:\\\/\\\/comunicacion.uaa.mx\\\/revista\\\/?p=6690\",\"url\":\"https:\\\/\\\/comunicacion.uaa.mx\\\/revista\\\/?p=6690\",\"name\":\"Un Peque\u00f1o An\u00e1lisis de Waltz with Bashir - 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