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David Loynaz
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Essays

  1. La verdad de la no verdad

    Consideraciones sobre la ficción desde la Teoría Crítica y Friedrich Nietzsche

    Examination of the status of fiction in two registers: instrumental reason and the culture industry in Adorno and Horkheimer, and fiction as a problem of truth in Nietzsche, read with Cacciari and Sloterdijk.

  2. La ficción como problema metafísico

    Encubrimiento y apariencia en El dios que baila y De la esencia de la verdad

    Crossed reading of Cacciari's “El dios que baila” and Heidegger's “On the Essence of Truth”: concealment as part of the essence of truth, and the falsifying faculty of art.

  3. Imaginar un cine

    Panorama sobre el estado del cine costarricense

    Survey of Costa Rican cinema in four waves, from founding costumbrismo to the festival circuit: the overlap of filmmaker, curator and juror, and “the Central American” as a generic category.

  4. Materias ardientes

    El espacio como archivo vivo en el documental centroamericano

    Analysis of five Central American documentaries through the notion of the ruin-space: Bachelard inverted — the space that repels — and, via “Archive Fever”, selection and silence in any act of archiving.

  5. La negligencia de sí

    El concepto de negligencia en El pensamiento del afuera como forma de ser opuesta al control de sí en Las tecnologías del yo, de Michel Foucault

    Comparative study of “Technologies of the Self” and “The Thought of the Outside”: the concept of negligence set against technologies of the self aimed at self-improvement and self-control.

  6. Los secretos de Isolina: neocostumbrismo, reflejos y distorsiones

    Typology of the images in Miguel Salguero's film (1986) using the Deleuzian categories of action-image, large form and small form, apart from the dominant plot-driven reading.

  7. El montaje y su doble

    Una estética del montaje post-cinematográfico a partir del cortometraje paródico-experimental El Vergel de los Sueños Húmedos

    Aesthetics of montage as an autonomous object, separated from the drama it serves and from continuity procedures: Vincent Amiel crossed with Deleuze and Guattari, Artaud and Casetti. Undergraduate dissertation, 2021.

  8. Matemas y fantasmas

    Discussion of Daniel Fairfax's reading of the post-structuralist period of Cahiers du cinéma: via “Archive Fever” and “Limited Inc”, the cinematic as a category of writing.