Keywords
pantalla, ciencia-ficción, mirada, visión, tacto, ojo, encuadre, screen, science fiction, gaze, vision, touch, eye, framing
Daisy, dame la mano, estoy loco por ti...
Abstract
Las pantallas han colonizado el mundo en el que vivimos. Unas pantallas que se han multiplicado en una doble dirección: al mismo tiempo que han crecido, haciéndose más grandes, más anchas y más profundas, también se han hecho más pequeñas y móviles. Y en esta transformación han cambiado, además, la relación que se establece entre el ojo y la superficie, incluyendo un nuevo elemento en la ecuación: lo táctil. Se inaugura así una nueva forma de relacionarse con el interfaz que da paso a una información sin límites, en la que encuadrar es un simple ejercicio de dedos. La relación del hombre con la máquina ha sido una inspiración continua en la historia del cine, por ello, este artículo se plantea un análisis de la evolución de la concepción de la pantallas en seis obras cumbres de la ciencia-ficción. Comenzando por la que se puede considerar la obra inaugural del género 2001: una odisea en el espacio (2001: A Space Odyssey, Stanley Kubrick, 1968), pasando por la mítica Blade Runner (Ridley Scott, 1982), a Matrix (The Matrix, Andy y Larry Wachowski, 1998) y Minority Report (Steven Spielberg, 2002). Finalmente, cerramos el análisis con Avatar (James Cameron, 2009) y Origen (Inception, Christopher Nolan, 2010) donde, ciertamente, la pantalla desaparece para imbuir en su tridimensionalidad estereoscópica al espectador, buscando, precisamente, su invisibilidad.
Screens have colonized the world we live in. They have multiplied in two directions: while growing larger, wider, and deeper, they have also become smaller and more mobile. This transformation has also altered the relationship between the eye and the surface, introducing a new element into the equation: touch. This marks the beginning of a new way of interacting with interfaces, giving rise to boundless information, where framing becomes a simple exercise of the fingers. The relationship between humans and machines has been a continuous source of inspiration in the history of cinema. For this reason, this article examines the evolution of screen concepts through six landmark works of science fiction. The analysis begins with what can be considered the genre’s foundational film, 2001: A Space Odyssey (Stanley Kubrick, 1968), followed by the iconic Blade Runner (Ridley Scott, 1982), The Matrix (Andy and Larry Wachowski, 1998), and Minority Report (Steven Spielberg, 2002). Finally, it concludes with Avatar (James Cameron, 2009) and Inception (Christopher Nolan, 2010), where the screen ultimately vanishes, immersing the viewer in its stereoscopic three-dimensionality, aiming precisely for its invisibility.
Screens have colonized the world we live in. They have multiplied in two directions: while growing larger, wider, and deeper, they have also become smaller and more mobile. This transformation has also altered the relationship between the eye and the surface, introducing a new element into the equation: touch. This marks the beginning of a new way of interacting with interfaces, giving rise to boundless information, where framing becomes a simple exercise of the fingers. The relationship between humans and machines has been a continuous source of inspiration in the history of cinema. For this reason, this article examines the evolution of screen concepts through six landmark works of science fiction. The analysis begins with what can be considered the genre’s foundational film, 2001: A Space Odyssey (Stanley Kubrick, 1968), followed by the iconic Blade Runner (Ridley Scott, 1982), The Matrix (Andy and Larry Wachowski, 1998), and Minority Report (Steven Spielberg, 2002). Finally, it concludes with Avatar (James Cameron, 2009) and Inception (Christopher Nolan, 2010), where the screen ultimately vanishes, immersing the viewer in its stereoscopic three-dimensionality, aiming precisely for its invisibility.
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