<?xml version="1.0" encoding="ISO-8859-1"?><article xmlns:mml="http://www.w3.org/1998/Math/MathML" xmlns:xlink="http://www.w3.org/1999/xlink" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance">
<front>
<journal-meta>
<journal-id>1665-1200</journal-id>
<journal-title><![CDATA[Tópicos del Seminario]]></journal-title>
<abbrev-journal-title><![CDATA[Tóp. Sem]]></abbrev-journal-title>
<issn>1665-1200</issn>
<publisher>
<publisher-name><![CDATA[Benemérita Universidad Autónoma de Puebla, Seminario de Estudios de la Significación]]></publisher-name>
</publisher>
</journal-meta>
<article-meta>
<article-id>S1665-12002021000200060</article-id>
<title-group>
<article-title xml:lang="es"><![CDATA[Entre el evento y el ejercicio: la construcción tensiva del suspenso en la película Birdman (o la inesperada virtud de la ignorancia)]]></article-title>
<article-title xml:lang="en"><![CDATA[Between the Event and the Exercise: The Tensive Construction of Suspense in the Movie Birdman (or The Unexpected Virtue of Ignorance)]]></article-title>
<article-title xml:lang="fr"><![CDATA[Entre l&#8217;événement et l&#8217;exercice : la construction tensive du suspens dans le film Birdman (ou l&#8217;inespérée vertu de l&#8217;ignorance)]]></article-title>
</title-group>
<contrib-group>
<contrib contrib-type="author">
<name>
<surname><![CDATA[Núñez Alberca]]></surname>
<given-names><![CDATA[Alejandro]]></given-names>
</name>
<xref ref-type="aff" rid="Aff"/>
</contrib>
</contrib-group>
<aff id="Af1">
<institution><![CDATA[,Universidad de Lima  ]]></institution>
<addr-line><![CDATA[ ]]></addr-line>
<country>Peru</country>
</aff>
<pub-date pub-type="pub">
<day>00</day>
<month>12</month>
<year>2021</year>
</pub-date>
<pub-date pub-type="epub">
<day>00</day>
<month>12</month>
<year>2021</year>
</pub-date>
<numero>46</numero>
<fpage>60</fpage>
<lpage>79</lpage>
<copyright-statement/>
<copyright-year/>
<self-uri xlink:href="http://www.scielo.org.mx/scielo.php?script=sci_arttext&amp;pid=S1665-12002021000200060&amp;lng=en&amp;nrm=iso"></self-uri><self-uri xlink:href="http://www.scielo.org.mx/scielo.php?script=sci_abstract&amp;pid=S1665-12002021000200060&amp;lng=en&amp;nrm=iso"></self-uri><self-uri xlink:href="http://www.scielo.org.mx/scielo.php?script=sci_pdf&amp;pid=S1665-12002021000200060&amp;lng=en&amp;nrm=iso"></self-uri><abstract abstract-type="short" xml:lang="es"><p><![CDATA[Resumen El presente artículo retoma la estructura de los modos semióticos, definidos según la jerarquía elemental postulada por Claude Zilberberg, los cuales permiten concebir el evento y el ejercicio desde el punto de vista de la hipótesis tensiva. A partir de un análisis cinematográfico específico, se plantea la existencia de otra modalidad: el suspenso, sin pretender por ello realizar el tránsito de una estructura binaria a una ternaria. Se realza, además, la urgencia de reconocer al espectador como cuerpo propio, eje patémico-semiótico de la vivencia cinematográfica, y a la narración como un proceso tanto discursivo como estésico.]]></p></abstract>
<abstract abstract-type="short" xml:lang="en"><p><![CDATA[Abstract This article applies the structure of semiotic modes, defined according to the elemental hierarchy postulated by Claude Zilberberg, which allows the event and the exercise to be conceived from the point of view of the tensive hypothesis. Based on a specific cinematographic analysis, the existence of another modality is proposed: the suspense, without thereby attempting to make the transition from a binary structure to a ternary one. In addition, we highlight the urgency of recognizing the viewer as a lived body, the pathemic-semiotic axis of the cinematographic experience, and narration as a both discursive and phenomenological process.]]></p></abstract>
<abstract abstract-type="short" xml:lang="fr"><p><![CDATA[Résumé Cet article reprend la structure des modes sémiotiques, définis selon la hiérarchie élémentaire postulée par Claude Zilberberg, permettant de concevoir l&#8217;événement et l&#8217;exercice du point de vue de l&#8217;hypothèse tensive. À partir d&#8217;une analyse cinématographique spécifique, il pose l&#8217;existence d&#8217;une autre modalité : le suspens, sans pour autant prétendre réaliser le transfert d&#8217;une structure binaire à une structure tertiaire. On met également en évidence l&#8217;urgence de reconnaître, d&#8217;une part, le spectateur comme un corps propre, axe pathémico-sémiotique de l&#8217;expérience cinématographique et, de l&#8217;autre, la narration comme un processus à la fois discursif et esthésique.]]></p></abstract>
<kwd-group>
<kwd lng="es"><![CDATA[cine]]></kwd>
<kwd lng="es"><![CDATA[Birdman]]></kwd>
<kwd lng="es"><![CDATA[suspenso]]></kwd>
<kwd lng="es"><![CDATA[semiótica tensiva]]></kwd>
<kwd lng="en"><![CDATA[cinema]]></kwd>
<kwd lng="en"><![CDATA[Birdman]]></kwd>
<kwd lng="en"><![CDATA[suspense]]></kwd>
<kwd lng="en"><![CDATA[tensive semiotics]]></kwd>
<kwd lng="fr"><![CDATA[cinéma]]></kwd>
<kwd lng="fr"><![CDATA[Birdman]]></kwd>
<kwd lng="fr"><![CDATA[suspens]]></kwd>
<kwd lng="fr"><![CDATA[sémiotique tensive]]></kwd>
</kwd-group>
</article-meta>
</front><back>
<ref-list>
<ref id="B1">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Agamben]]></surname>
<given-names><![CDATA[G.]]></given-names>
</name>
</person-group>
<source><![CDATA[Creación y anarquía]]></source>
<year>2019</year>
<publisher-loc><![CDATA[Buenos Aires ]]></publisher-loc>
<publisher-name><![CDATA[Adriana Hidalgo Editora]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B2">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Baracco]]></surname>
<given-names><![CDATA[A.]]></given-names>
</name>
</person-group>
<source><![CDATA[Hermeneutics of the Film World: A Ric&#339;urian Method for Film Interpretation]]></source>
<year>2017</year>
<publisher-loc><![CDATA[Londres ]]></publisher-loc>
<publisher-name><![CDATA[Springer International Publishing]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B3">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Bazin]]></surname>
<given-names><![CDATA[A.]]></given-names>
</name>
</person-group>
<source><![CDATA[¿Qué es el cine?]]></source>
<year>1966</year>
<publisher-loc><![CDATA[Madrid ]]></publisher-loc>
<publisher-name><![CDATA[Rialp]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B4">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Blanco]]></surname>
<given-names><![CDATA[D.]]></given-names>
</name>
</person-group>
<source><![CDATA[Vigencia de la semiótica y otros ensayos]]></source>
<year>2012</year>
<publisher-loc><![CDATA[Lima ]]></publisher-loc>
<publisher-name><![CDATA[Fondo Editorial de la Universidad de Lima]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B5">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Branigan]]></surname>
<given-names><![CDATA[E.]]></given-names>
</name>
</person-group>
<source><![CDATA[Narrative Comprehension and Film]]></source>
<year>1992</year>
<publisher-loc><![CDATA[Nueva York ]]></publisher-loc>
<publisher-name><![CDATA[Routledge]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B6">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Bordwell]]></surname>
<given-names><![CDATA[D.]]></given-names>
</name>
</person-group>
<source><![CDATA[La narración en el cine de ficción]]></source>
<year>1996</year>
<publisher-loc><![CDATA[Buenos Aires ]]></publisher-loc>
<publisher-name><![CDATA[Paidós]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B7">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Ça&#287;layan]]></surname>
<given-names><![CDATA[O.]]></given-names>
</name>
</person-group>
<source><![CDATA[Screening Boredom: The History and Aesthetics of Slow Cinema]]></source>
<year>2014</year>
<publisher-loc><![CDATA[Reino Unido ]]></publisher-loc>
<publisher-name><![CDATA[Universidad de Kent]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B8">
<nlm-citation citation-type="journal">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Contreras]]></surname>
<given-names><![CDATA[M. J.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Introducción a la semiótica del cuerpo: presencia, enunciación encarnada y memoria]]></article-title>
<source><![CDATA[Cátedra de Artes]]></source>
<year>2012</year>
<numero>12</numero>
<issue>12</issue>
<page-range>13-29</page-range><publisher-name><![CDATA[Facultad de Artes; Pontificia Universidad Católica de Chile]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B9">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Courtés]]></surname>
<given-names><![CDATA[J.]]></given-names>
</name>
</person-group>
<source><![CDATA[Análisis semiótico del discurso. Del enunciado a la enunciación]]></source>
<year>1997</year>
<publisher-loc><![CDATA[Madrid ]]></publisher-loc>
<publisher-name><![CDATA[Gredos]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B10">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Fontanille]]></surname>
<given-names><![CDATA[J.]]></given-names>
</name>
<name>
<surname><![CDATA[Zilberberg]]></surname>
<given-names><![CDATA[C.]]></given-names>
</name>
</person-group>
<source><![CDATA[Tensión y significación]]></source>
<year>2004</year>
<publisher-loc><![CDATA[Lima ]]></publisher-loc>
<publisher-name><![CDATA[Fondo Editorial de la Universidad de Lima]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B11">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Gaudreault]]></surname>
<given-names><![CDATA[A.]]></given-names>
</name>
<name>
<surname><![CDATA[Jost]]></surname>
<given-names><![CDATA[F.]]></given-names>
</name>
</person-group>
<source><![CDATA[El relato cinematográfico: cine y narratología]]></source>
<year>1995</year>
<publisher-loc><![CDATA[Barcelona ]]></publisher-loc>
<publisher-name><![CDATA[Paidós]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B12">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Han]]></surname>
<given-names><![CDATA[B.]]></given-names>
</name>
</person-group>
<source><![CDATA[La expulsión de lo distinto]]></source>
<year>2018</year>
<publisher-loc><![CDATA[Barcelona ]]></publisher-loc>
<publisher-name><![CDATA[Herder Editorial]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B13">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Hjelmslev]]></surname>
<given-names><![CDATA[L.]]></given-names>
</name>
</person-group>
<source><![CDATA[Prolegómenos a una teoría del lenguaje]]></source>
<year>1971</year>
<publisher-loc><![CDATA[Madrid ]]></publisher-loc>
<publisher-name><![CDATA[Gredos]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B14">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Merleau-Ponty]]></surname>
<given-names><![CDATA[M.]]></given-names>
</name>
</person-group>
<source><![CDATA[Fenomenología de la percepción]]></source>
<year>1993</year>
<publisher-loc><![CDATA[Barcelona ]]></publisher-loc>
<publisher-name><![CDATA[Planeta-De Agostini]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B15">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Metz]]></surname>
<given-names><![CDATA[C.]]></given-names>
</name>
</person-group>
<source><![CDATA[Ensayos sobre la significación en el cine: 1964-1968]]></source>
<year>2002</year>
<volume>1</volume>
<publisher-loc><![CDATA[Barcelona ]]></publisher-loc>
<publisher-name><![CDATA[Paidós Ibérica]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B16">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Rajas]]></surname>
<given-names><![CDATA[M.]]></given-names>
</name>
</person-group>
<source><![CDATA[La poética del plano-secuencia: análisis de la enunciación fílmica de continuidad]]></source>
<year>2008</year>
<publisher-name><![CDATA[Universidad Complutense de Madrid]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B17">
<nlm-citation citation-type="book">
<collab>Real Academia Española</collab>
<source><![CDATA[Diccionario de la Real Academia Española]]></source>
<year>2006</year>
<publisher-name><![CDATA[Espasa-Calpe]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B18">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Sobchack]]></surname>
<given-names><![CDATA[V.]]></given-names>
</name>
</person-group>
<source><![CDATA[The Address of the Eye. A Phenomenology of Film Experience]]></source>
<year>1992</year>
<publisher-loc><![CDATA[Princeton, Nueva Jersey ]]></publisher-loc>
<publisher-name><![CDATA[Princeton University Press]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B19">
<nlm-citation citation-type="journal">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Yacavone]]></surname>
<given-names><![CDATA[D.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Film and the Phenomenology of Art: Repraising Merleau-Ponty on Cinema as Form, Medium, and Expression]]></article-title>
<source><![CDATA[New Literary History]]></source>
<year>2016</year>
<volume>47</volume>
<numero>1</numero>
<issue>1</issue>
<page-range>159-86</page-range></nlm-citation>
</ref>
<ref id="B20">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Zavala]]></surname>
<given-names><![CDATA[L.]]></given-names>
</name>
</person-group>
<source><![CDATA[Narratología y lenguaje audiovisual]]></source>
<year>2015</year>
<publisher-loc><![CDATA[Buenos Aires ]]></publisher-loc>
<publisher-name><![CDATA[Universidad Nacional de Cuyo]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B21">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Zilberberg]]></surname>
<given-names><![CDATA[C.]]></given-names>
</name>
</person-group>
<source><![CDATA[Semiótica tensiva]]></source>
<year>2006</year>
<publisher-loc><![CDATA[Lima ]]></publisher-loc>
<publisher-name><![CDATA[Fondo Editorial de la Universidad de Lima]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B22">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Zilberberg]]></surname>
<given-names><![CDATA[C.]]></given-names>
</name>
</person-group>
<source><![CDATA[La estructura tensiva]]></source>
<year>2015</year>
<publisher-loc><![CDATA[Lima ]]></publisher-loc>
<publisher-name><![CDATA[Fondo Editorial de la Universidad de Lima]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B23">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Zilberberg]]></surname>
<given-names><![CDATA[C.]]></given-names>
</name>
</person-group>
<source><![CDATA[Horizontes de la hipótesis tensiva]]></source>
<year>2018</year>
<publisher-loc><![CDATA[Lima ]]></publisher-loc>
<publisher-name><![CDATA[Fondo Editorial de la Universidad de Lima]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B24">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Lesher]]></surname>
<given-names><![CDATA[J.]]></given-names>
</name>
<name>
<surname><![CDATA[Milchan]]></surname>
<given-names><![CDATA[A.]]></given-names>
</name>
<name>
<surname><![CDATA[Skotchdopole]]></surname>
<given-names><![CDATA[J.]]></given-names>
</name>
<name>
<surname><![CDATA[Iñárritu]]></surname>
<given-names><![CDATA[A.]]></given-names>
</name>
<name>
<surname><![CDATA[Iñárritu]]></surname>
<given-names><![CDATA[A.]]></given-names>
</name>
</person-group>
<source><![CDATA[Birdman (o la inesperada virtud de la ignorancia)]]></source>
<year>2014</year>
<publisher-loc><![CDATA[EE.UU ]]></publisher-loc>
<publisher-name><![CDATA[Regency Enterprises; New Regency Pictures; M Productions; Le Grisbi Pictures; TSG Entertainment y Worldwide Entertainment]]></publisher-name>
</nlm-citation>
</ref>
</ref-list>
</back>
</article>
