El cine de Quentin Tarantino en Julián Herbert: la estética del límite
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Julián Herbert; México; narrativa mexicana; cine; Quentin TarantinoResumen
En “El cine de Quentin Tarantino en Julián Herbert: la estética del límite” analizo la escritura de Julián Herbert en Un mundo infiel y Tráiganme la cabeza de Quentin Tarantino, y propongo que el escritor entabla un diálogo con el cine de este último (específicamente con Reservoir Dogs, Pulp Fiction, Kill Bill y Django Unchained). Propongo esta comparación por la abundante cantidad de imágenes visuales que incorpora Herbert a su narrativa, así como por la estructura de corte cinematográfico que tienen sus textos. El vínculo es también temático: Herbert desde la narrativa y Tarantino desde el cine, se caracterizan por representar la violencia desde ángulos distintos y llevarla al límite de lo leíble o visible, respectivamente. Asimismo, ambos autores explotan la hibridez como parte del proceso artístico de construcción. Herbert, yuxtapone géneros literarios diversos como la crónica periodística, el discurso histórico, el género testimonial, las bitácoras policiales, etc. En Tarantino, la hibridez funciona de manera distinta. El cineasta parte de ciertos géneros cinematográficos—el “spaguetti western”, por ejemplo—o distintos tópicos cinematográficos —el asalto, la venganza, las traiciones en la mafia— y transforma o parodia el modelo o género original. En este ensayo muestro cómo tanto el director como el cineasta llevan la estética artística, cada quien a su manera, pero al límite de lo narrable.
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