<?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>0188-252X</journal-id>
<journal-title><![CDATA[Comunicación y sociedad]]></journal-title>
<abbrev-journal-title><![CDATA[Comun. soc]]></abbrev-journal-title>
<issn>0188-252X</issn>
<publisher>
<publisher-name><![CDATA[Universidad de Guadalajara, Departamento de Estudios de la Comunicación Social]]></publisher-name>
</publisher>
</journal-meta>
<article-meta>
<article-id>S0188-252X2018000200081</article-id>
<article-id pub-id-type="doi">10.32870/cys.v0i32.6940</article-id>
<title-group>
<article-title xml:lang="es"><![CDATA[La pesadilla americana, o la revelación de lo extraño en tres documentales de Werner Herzog]]></article-title>
<article-title xml:lang="en"><![CDATA[The American Nightmare, or the Revelation of the Uncanny in three documentary films by Werner Herzog]]></article-title>
</title-group>
<contrib-group>
<contrib contrib-type="author">
<name>
<surname><![CDATA[Zavala Scherer]]></surname>
<given-names><![CDATA[Diego]]></given-names>
</name>
<xref ref-type="aff" rid="Aff"/>
</contrib>
</contrib-group>
<aff id="Af1">
<institution><![CDATA[,Tecnológico de Monterrey  ]]></institution>
<addr-line><![CDATA[ ]]></addr-line>
<country>Mexico</country>
</aff>
<pub-date pub-type="pub">
<day>00</day>
<month>08</month>
<year>2018</year>
</pub-date>
<pub-date pub-type="epub">
<day>00</day>
<month>08</month>
<year>2018</year>
</pub-date>
<numero>32</numero>
<fpage>81</fpage>
<lpage>101</lpage>
<copyright-statement/>
<copyright-year/>
<self-uri xlink:href="http://www.scielo.org.mx/scielo.php?script=sci_arttext&amp;pid=S0188-252X2018000200081&amp;lng=en&amp;nrm=iso"></self-uri><self-uri xlink:href="http://www.scielo.org.mx/scielo.php?script=sci_abstract&amp;pid=S0188-252X2018000200081&amp;lng=en&amp;nrm=iso"></self-uri><self-uri xlink:href="http://www.scielo.org.mx/scielo.php?script=sci_pdf&amp;pid=S0188-252X2018000200081&amp;lng=en&amp;nrm=iso"></self-uri><abstract abstract-type="short" xml:lang="es"><p><![CDATA[Resumen: El presente artículo analiza tres obras de la filmografía de Werner Herzog: How Much Wood Would a Woodchuck Chuck (1976), Huie&#8217;s Sermon (1981) y God&#8217;s Angry Man (1981) a partir del uso del plano secuencia como dispositivo documental. A pesar del vínculo de esta forma de puesta en cámara con el cine directo, Herzog deconstruye su uso para la generación de momentos de revelación fílmica, lejos del simple registro.]]></p></abstract>
<abstract abstract-type="short" xml:lang="en"><p><![CDATA[Abstract: This paper analyzes three Werner Herzog&#8217;s films: How Much Wood Would a Woodchuck Chuck (1976), Huie&#8217;s Sermon (1981) and God´s Angry Man (1981) through his use of the sequence shot as a documentary device. Despite the strong relation of this way of shooting with direct cinema, Herzog deconstructs its use to generate moments of filmic revelation, away from a mere recording of events.]]></p></abstract>
<kwd-group>
<kwd lng="es"><![CDATA[dispositivo documental]]></kwd>
<kwd lng="es"><![CDATA[plano secuencia]]></kwd>
<kwd lng="es"><![CDATA[Werner Herzog]]></kwd>
<kwd lng="es"><![CDATA[cine directo]]></kwd>
<kwd lng="es"><![CDATA[éxtasis]]></kwd>
<kwd lng="en"><![CDATA[Documentary device]]></kwd>
<kwd lng="en"><![CDATA[sequence shot]]></kwd>
<kwd lng="en"><![CDATA[Werner Herzog]]></kwd>
<kwd lng="en"><![CDATA[direct cinema]]></kwd>
<kwd lng="en"><![CDATA[ecstasy]]></kwd>
</kwd-group>
</article-meta>
</front><back>
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