Defiguración en la pintura y el cine. Una aproximación al pensamiento filosófico de Gilles Deleuze, la obra pictórica de Francis Bacon y la propuesta cinematográfica de David Lynch
Thesis
In much of his work, Gilles Deleuze puts into dialogue the great forms of thought, as he calls them. He focuses his analysis on the pictorial work of Francis Bacon where he identifies a clear opposition between figure and figuration, and from this, the defiguration as one of the distinctive elements that crosses this work. Bacon has succeeded in transcending pictorial art, becoming an inspiration for some filmmakers, who have seen in his work essential features for a cinematographic art that moves away from the conventional. In David Lynch's cinema, baconian defiguration is recognized, not only in faces and bodies, but also in the personalities of the different characters that expose this defiguration through discourse and action. Hence, the Lynch universe films do not contain a linear story or conventionally defined characters. This article intends to establish a dialogue between Bacon and Lynch, regarding the defiguration, based on the concepts and the proposal of Deleuze.
