{"version":"1.0","provider_name":"TAIPEI","provider_url":"https:\/\/taipeirevista.com","author_name":"Daniel Cabo","author_url":"https:\/\/taipeirevista.com\/index.php\/author\/daniel-cabo\/","title":"Im\u00e1genes y contexto en \"Elephant\", de Alan Clarke - TAIPEI","type":"rich","width":600,"height":338,"html":"<blockquote class=\"wp-embedded-content\" data-secret=\"nVALNhJzEs\"><a href=\"https:\/\/taipeirevista.com\/index.php\/2021\/12\/22\/imagenes-y-contexto-en-elephant-de-alan-clarke\/\">Im\u00e1genes y contexto en &#8220;Elephant&#8221;, de Alan Clarke<\/a><\/blockquote><iframe sandbox=\"allow-scripts\" security=\"restricted\" src=\"https:\/\/taipeirevista.com\/index.php\/2021\/12\/22\/imagenes-y-contexto-en-elephant-de-alan-clarke\/embed\/#?secret=nVALNhJzEs\" width=\"600\" height=\"338\" title=\"&#8220;Im\u00e1genes y contexto en &#8220;Elephant&#8221;, de Alan Clarke&#8221; &#8212; TAIPEI\" data-secret=\"nVALNhJzEs\" frameborder=\"0\" marginwidth=\"0\" marginheight=\"0\" scrolling=\"no\" class=\"wp-embedded-content\"><\/iframe><script>\n\/*! This file is auto-generated *\/\n!function(d,l){\"use strict\";l.querySelector&&d.addEventListener&&\"undefined\"!=typeof URL&&(d.wp=d.wp||{},d.wp.receiveEmbedMessage||(d.wp.receiveEmbedMessage=function(e){var t=e.data;if((t||t.secret||t.message||t.value)&&!\/[^a-zA-Z0-9]\/.test(t.secret)){for(var s,r,n,a=l.querySelectorAll('iframe[data-secret=\"'+t.secret+'\"]'),o=l.querySelectorAll('blockquote[data-secret=\"'+t.secret+'\"]'),c=new RegExp(\"^https?:$\",\"i\"),i=0;i<o.length;i++)o[i].style.display=\"none\";for(i=0;i<a.length;i++)s=a[i],e.source===s.contentWindow&&(s.removeAttribute(\"style\"),\"height\"===t.message?(1e3<(r=parseInt(t.value,10))?r=1e3:~~r<200&&(r=200),s.height=r):\"link\"===t.message&&(r=new URL(s.getAttribute(\"src\")),n=new URL(t.value),c.test(n.protocol))&&n.host===r.host&&l.activeElement===s&&(d.top.location.href=t.value))}},d.addEventListener(\"message\",d.wp.receiveEmbedMessage,!1),l.addEventListener(\"DOMContentLoaded\",function(){for(var e,t,s=l.querySelectorAll(\"iframe.wp-embedded-content\"),r=0;r<s.length;r++)(t=(e=s[r]).getAttribute(\"data-secret\"))||(t=Math.random().toString(36).substring(2,12),e.src+=\"#?secret=\"+t,e.setAttribute(\"data-secret\",t)),e.contentWindow.postMessage({message:\"ready\",secret:t},\"*\")},!1)))}(window,document);\n\/\/# sourceURL=https:\/\/taipeirevista.com\/wp-includes\/js\/wp-embed.min.js\n<\/script>\n","thumbnail_url":"https:\/\/taipeirevista.com\/wp-content\/uploads\/2021\/12\/Elephant.1989.1080p.BluRay.x264-YTS.AG_.mp4_snapshot_13.28.449.png","thumbnail_width":1440,"thumbnail_height":1072,"description":"La obra de Clarke es una paradoja en s\u00ed misma: contextualiza el momento hist\u00f3rico que las im\u00e1genes ficcionales van a representar, y al mismo tiempo realiza una brutal descontextualizaci\u00f3n de dichas im\u00e1genes, en tanto que constituyen una serie de asesinatos que no podemos personificar de forma concreta. Tanto los asesinos como las v\u00edctimas permanecen an\u00f3nimos, y su paso por la pel\u00edcula es fugaz: realizan el acto violento o son consecuencia de \u00e9l, y la siguiente escena se olvida de ellos, mostrando otra tesitura diferente sin aportar informaci\u00f3n sobre su distancia geogr\u00e1fica, su relaci\u00f3n temporal o sus motivos subyacentes(...)"}