{"id":6781,"date":"2019-01-19T13:25:49","date_gmt":"2019-01-19T19:25:49","guid":{"rendered":"https:\/\/comunicacion.uaa.mx\/revista\/?p=6781"},"modified":"2019-01-22T17:03:21","modified_gmt":"2019-01-22T23:03:21","slug":"psicologia-del-color-en-el-cine-the-machinist","status":"publish","type":"post","link":"https:\/\/comunicacion.uaa.mx\/revista\/?p=6781","title":{"rendered":"Psicolog\u00eda del Color en el Cine: The Machinist"},"content":{"rendered":"<p style=\"text-align: justify;\"><span style=\"font-size: 12pt;\"><strong>Breve sinopsis:<\/strong><\/span><\/p>\n<p style=\"text-align: justify;\">\n<p style=\"text-align: justify;\"><span style=\"font-size: 12pt;\">Trevor Reznik, operario en una factor\u00eda, no puede dormir desde hace un a\u00f1o. La fatiga le ha comportado un horrible deterioro de su condici\u00f3n f\u00edsica y su salud mental. Repelidos por su aspecto, sus compa\u00f1eros se volver\u00e1n contra \u00e9l cuando uno de ellos pierde un brazo en un incidente en el que Trevor se ve involucrado\u2026<\/span><\/p>\n<p style=\"text-align: justify;\">\n<p style=\"text-align: justify;\"><span style=\"font-size: 12pt;\"><strong>An\u00e1lisis:<\/strong><\/span><\/p>\n<p style=\"text-align: justify;\">\n<p style=\"text-align: justify;\"><span style=\"font-size: 12pt;\">En este film predominan las composiciones arm\u00f3nicas an\u00e1logas, al utilizar tintes verdes y azules de baja saturaci\u00f3n (colores fr\u00edos). La mayor parte de la pel\u00edcula est\u00e1 filmada con valores bajos de luminosidad, hasta asociarse a lo opaco. Esto se reafirma por la neutralidad del gris que destaca los dos colores antes mencionados.<\/span><\/p>\n<p style=\"text-align: justify;\">\n<p style=\"text-align: justify;\"><span style=\"font-size: 12pt;\">Las composiciones discordantes se dan justo al inicio del film: Cuando Trevor lleva el cad\u00e1ver enredado en la alfombra, hay un letrero rojo con un poco m\u00e1s de saturaci\u00f3n (el color rojo y el amarillo est\u00e1n presentes en elementos m\u00ednimos del film, tales como objetos de consumo) Lo que hace que destaque es el aumento en la saturaci\u00f3n, que rompe el equilibrio an\u00e1logo de colores fr\u00edos y desaturaci\u00f3n.<\/span><\/p>\n<p style=\"text-align: justify;\">\n<p style=\"text-align: justify;\"><span style=\"font-size: 12pt;\">Otro ejemplo es la escena en que est\u00e1 con la prostituta. La armon\u00eda de colores al centrarse en la habitaci\u00f3n y ella es c\u00e1lida; al pasar al plano de Travis en el ba\u00f1o, hay una fuerte coloraci\u00f3n azulosa y verdosa que hace que \u00e9l sea el elemento discordante en la escena.<\/span><\/p>\n<p style=\"text-align: justify;\">\n<p style=\"text-align: justify;\"><span style=\"font-size: 12pt;\">El film no intenta precisar una \u00e9poca en s\u00ed, sino una psicolog\u00eda de discordancia y extra\u00f1ismo, pero puede se\u00f1alarse la \u00e9poca de producci\u00f3n e industrializaci\u00f3n, y la mitificaci\u00f3n del individuo y predominio de la masa; cuando el individuo entra en crisis y se aliena: logrado de manera plena al opacar los colores y depender de la neutralidad del gris.<\/span><\/p>\n<p style=\"text-align: justify;\">\n<p style=\"text-align: justify;\"><span style=\"font-size: 12pt;\"><strong>Colores para definir personajes o situaciones:<\/strong><\/span><\/p>\n<p style=\"text-align: justify;\">\n<p style=\"text-align: justify;\"><span style=\"font-size: 12pt;\">-El gris y las sombras en la piel de travis y su ropa siempre en colores fr\u00edos. Marca el extra\u00f1ismo del personaje<\/span><\/p>\n<p style=\"text-align: justify;\"><span style=\"font-size: 12pt;\">-El rojo (un poco m\u00e1s saturado: veh\u00edculo, letrero&#8230;) como contraste, para alternar el plano deformado de realidad del psique del protagonista<\/span><\/p>\n<p style=\"text-align: justify;\">\n<p style=\"text-align: justify;\"><span style=\"font-size: 12pt;\"><strong>Colores para reforzar un sentimiento:<\/strong><\/span><\/p>\n<p style=\"text-align: justify;\">\n<p style=\"text-align: justify;\"><span style=\"font-size: 12pt;\">-El rojo (como filtro en la iluminaci\u00f3n), cuando la mano de Travis se atora en el engranje, exterioriza ira.<\/span><\/p>\n<p style=\"text-align: justify;\"><span style=\"font-size: 12pt;\">-El gris, como alienaci\u00f3n.<\/span><\/p>\n<p style=\"text-align: justify;\">\n<p style=\"text-align: justify;\"><span style=\"font-size: 12pt;\">Concluyendo, los colores y sus valores construyeron el entorno, la deformaci\u00f3n de realidad, la identidad del personaje, el contraste de elementos clave y la pertenencia del protagonista: su estado alienado y su condici\u00f3n err\u00e1tica.<\/span><\/p>\n<div class=\"likebtn_container\" style=\"\"><!-- LikeBtn.com BEGIN --><span class=\"likebtn-wrapper\"  data-identifier=\"post_6781\"  data-lang=\"es\"  data-style=\"\"  data-unlike_allowed=\"\"  data-show_copyright=\"\"  data-item_url=\"https:\/\/comunicacion.uaa.mx\/revista\/?p=6781\"  data-item_title=\"Psicolog\u00eda del Color en el Cine: The Machinist\"  data-item_image=\"https:\/\/comunicacion.uaa.mx\/revista\/wp-content\/uploads\/2019\/01\/machinist.jpg\"  data-item_date=\"2019-01-19T13:25:49-06:00\"  data-engine=\"WordPress\"  data-plugin_v=\"2.6.64\"  data-event_handler=\"likebtn_eh\" ><\/span><!-- LikeBtn.com END --><\/div>","protected":false},"excerpt":{"rendered":"<p>Breve sinopsis: Trevor Reznik, operario en una factor&iacute;a, no puede dormir desde hace un a&ntilde;o. La fatiga le ha comportado un horrible deterioro de su condici&oacute;n f&iacute;sica y su salud mental. Repelidos por su aspecto, sus compa&ntilde;eros se volver&aacute;n contra &eacute;l cuando uno de ellos pierde un brazo en un incidente en el que Trevor&#8230;<\/p>\n<div class=\"likebtn_container\" style=\"\"><!-- LikeBtn.com BEGIN --><span class=\"likebtn-wrapper\"  data-identifier=\"post_6781\"  data-lang=\"es\"  data-style=\"\"  data-unlike_allowed=\"\"  data-show_copyright=\"\"  data-item_url=\"https:\/\/comunicacion.uaa.mx\/revista\/?p=6781\"  data-item_title=\"Psicolog\u00eda del Color en el Cine: The Machinist\"  data-item_image=\"https:\/\/comunicacion.uaa.mx\/revista\/wp-content\/uploads\/2019\/01\/machinist.jpg\"  data-item_date=\"2019-01-19T13:25:49-06:00\"  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":6782,"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":[98,1470,414],"class_list":["post-6781","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-cinefilia","tag-cine","tag-coloracion","tag-psicologia"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v28.5 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Psicolog\u00eda del Color en el Cine: The Machinist - 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=6781\" \/>\n<meta property=\"og:locale\" content=\"es_MX\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Psicolog\u00eda del Color en el Cine: The Machinist - Noticias\" \/>\n<meta property=\"og:description\" content=\"Breve sinopsis: Trevor Reznik, operario en una factor&iacute;a, no puede dormir desde hace un a&ntilde;o. La fatiga le ha comportado un horrible deterioro de su condici&oacute;n f&iacute;sica y su salud mental. 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