RESUMO
Realizamos una selección de películas sobre los celos patológicos buscando films de calidad, de distinta procedencia y época de realización.Finalmente analizamos ocho películas procedentes de Estados Unidos (4), México, Italia, Francia y Corea del Sur, de directores muy distintos realizadas desde 1927 a 2005, pero todas ellas nos presentan las características del enfermo de celos, sus desencadenantes y reacciones típicas de ansiedad, acoso, vigilancia, persecución, episodios violentos, en ocasiones ideas delirantes y alucinaciones y un final muchas veces trágico.La visualización y el análisis de estas películas pueden ser útiles para la docencia en ciencias de la salud pudiendo también ayudar a conocer y prevenir situaciones derivadas de los celos enfermizos. (AU)
We make a selection of films about pathological jealousy looking for quality films, from different sources and times of production.Finally, we analyze eight films from the United States (4), Mexico, Italy, France and South Korea, by very different directors made from 1927 to 2005, but all of them present us with the characteristics of jealousy with their triggers and typical reactions of anxiety, harassment, surveillance, persecution, violent episodes, sometimes delusions and hallucinations and often with a tragic ending.The visualization and analysis of these films can be useful for teaching in health sciences and can also help to know and prevent situations derived from unhealthy jealousy. (AU)
Assuntos
Humanos , Ciúme , Filmes Cinematográficos , Emoções , Violência , BullyingRESUMO
A autora assinala alguns aspectos da arte cinematográfica que podem ser vistos, em seu modo peculiar, nesse filme de Fassbinder. Considera ser possível falar sobre o sentido do roteiro sem esquecer o modo artístico de apresentá-lo. Faz uma leitura da história por meio da utilização de conceitos psicanalíticos e filosóficos, de Fabio Herrmann e de Theodor Adorno, e comenta cenas considerando imagens que podem trazer uma visão original do tema corrupção.
The author points out some specific aspects of cinematographic art that can be seen in their peculiar faction in this Fassbinder film. She intends that it is possible to speak about the meaning of the script without forgetting the artistic way of presenting it. She makes a reading of the whole story through the use of psychoanalytic and philosophical concepts from Fabio Herrmann and Theodor Adorno and comments some scenes considering the images that can be taken in a original vision of the theme corruption.
