The choice by virtue of the absurd in Fear and Trembling as a model of the antihero in Film Noir
DOI:
https://doi.org/10.51660/riftp52303Keywords:
absurd, choice, existential, Kierkegaard, Freedom, antiheroAbstract
Kierkegaard argues in Fear and Trembling through the biblical figure of Abraham that the way to recover the possible is only in the performing of the movement of faith as a choice by virtue of the absurd that moves from infinite resignation to infinite belief, in the form of a singular inner possibility invisible to the eye of the judgment of the generality. Therefore, the way to understand it can only be indirect and through the reduplication of the reader. And it is because of this aspect that Deleuze has said that Kierkegaard is an antecedent of the cinematograph, because the cinematograph can capture that true movement and radical freedom. Furthermore, it is the Film-Noir genre that has best adopted this existential model of choice by virtue of the absurd in the figure of its antihero. Therefore, in this paper, we intend to show how Kierkegaard's existential model in the first part of Fear and Trembling of choice by virtue of the absurd constitutes the model of the antihero in Film-Noir, using as a particular analysis the 2019 Romanian film La Gomera by Corneliu Porumboiu, where he creatively expresses this singularity with a language for two singulars that is absurd for the general grammar, in such a way that cinema is a mode of continuation of the existential poetic thought generated in Kierkegaard's thought.
Downloads
References
Aguilar, A. (2020, 27 de febrero). The politics of genre: An interview with Corneliu Porumboiu. Notebook Interview, MUBI.
Conrad, M. T. (2006). Nietzsche and the meaning and definition of noir. En M. T. Conrad (Ed.), The philosophy of film noir (pp. 7–23). The University Press of Kentucky.
Deleuze, G. (1986). La imagen-tiempo. Estudios sobre cine 2 (I. Agoff, Trad.). Paidós.
Deleuze, G. (1998). Nietzsche y la filosofía (C. Artal, Trad.). Anagrama.
Deleuze, G. (2008). El cerebro es la pantalla. En Dos regímenes de locos. Textos y entrevistas (1975–1995) (pp. 255–262) (J. L. Pardo, Trad.). Pre-Textos.
Deleuze, G. (2020). Mil mesetas. Esquizofrenia y capitalismo (J. Vázquez Pérez, Trad.). Pre-Textos.
Finol, L. (2018). Expresionismo, existencialismo y film noir: Fritz Lang y la puesta en escena del Dasein. Fuera de Campo, 2(3), 34–52.
Kierkegaard, S. (1998). Temor y temblor (V. S. Merchán, Trad.). Técnos.
Kierkegaard, S. (2008). La enfermedad mortal (D. Gutiérrez Rivero, Trad.). Trotta.
Kierkegaard, S. (2011). Los primeros diarios. Volumen I: 1834–1837 (M. J. Binetti, Trad.). Universidad Iberoamericana.
Kierkegaard, S. (2016). El concepto de angustia. En Migajas filosóficas. El concepto de angustia. Prólogos (pp. 129–280) (D. González & Ó. Parcero, Trads.). Trotta.
Lax, E. (2008). Conversaciones con Woody Allen. Lumen.
Mayer, G. (2007). The hard-boiled influence. En G. Mayer & B. McDonnell (Eds.), Encyclopedia of film noir (pp. 19–46). Greenwood Press. DOI: https://doi.org/10.5040/9798400651045
Nietzsche, F. (2014). La gaya ciencia. En Obras completas. Vol. III. Obras de madurez I (J. L. Vermal, Trad.). Técnos.
Park, W. (2011). What is film noir? Bucknell University Press. DOI: https://doi.org/10.5771/9781611483635
Pop, D. (2010). The grammar of the new Romanian cinema. Acta Universitatis Sapientiae, Film and Media Studies, 3, 19–40.
Pop, D. (2018). This is not a film you are watching: Corneliu Porumboiu’s non-cinematic stylistics and the visceral-conceptual cinema. Ekphrasis, 2, 111–132. DOI: https://doi.org/10.24193/ekphrasis.20.6
Pop, D. (2023). Romanian cinema. Bloomsbury. DOI: https://doi.org/10.5040/9781501366222
Porfirio, R. (1996). No way out: Existential motifs in the film noir. En A. Silver & J. Ursini (Eds.), Film noir reader (pp. 77–95). Limelight Editions.
Schuchardt, R. M. (2006). Cherchez la femme fatale: The mother of film noir. En M. T. Conrad (Ed.), The philosophy of film noir (pp. 49–69). The University Press of Kentucky.
Shestov, L. (2025). Kierkegaard y la filosofía existencial (A. A. González, Trad.). Hermida.
Silver, A. (2006). Ride the pink horse: Money, mischance, murder, and the monads of film noir. En M. T. Conrad (Ed.), The philosophy of film noir (pp. 223–238). The University Press of Kentucky.
Skoble, A. J. (2006). Moral clarity and practical reason in film noir. En M. T. Conrad (Ed.), The philosophy of film noir (pp. 41–49). The University Press of Kentucky.
Stojanova, C. (2019). Introduction. En C. Stojanova & D. Duma (Eds.), The new Romanian cinema (pp. 1–22). Edinburgh University Press. DOI: https://doi.org/10.1515/9780748696444-005
Tarkovski, A. (1997). Esculpir en el tiempo (E. Banús, Trad.). Rialp.
Zavala, L. (2024, 8 de abril). Estética e ideología del film noir [Conferencia]. Jornadas académicas “Estética Noir: Marginalidad y el arte de lo invisible”, Universidad del Claustro de Sor Juana, CDMX, México.
Zavala, L. (2020). Estilo visual e ideología del film-noir: Diez aproximaciones. Diseño en Síntesis, 64, 14–29.
Žižek, S. (2006). Arriesgar lo imposible. Conversaciones con Glyn Daly (S. Arribas, Trad.). Trotta.
Downloads
Published
Issue
Section
License
Copyright (c) 2025 Revista Internacional de Filosofía Teórica y Práctica
This work is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International License.
Articles are published under the terms of a licence that permits use, distribution and reproduction in any medium, provided that the original work is properly cited. Ed&TIC retains the proprietary rights to the published works and actively promotes the reuse of these works under the terms of the aforementioned licence, which encourages the dissemination of knowledge and collaboration in the academic community.
