This thesis takes the form of a meta-criticism of the hermeneutics of the art-historical enterprise. I begin with an immanent critique of the discipline, paying careful attention to where art historians shift the interpretive focus in the spectrum of maker--object--viewer. After advocating for an increase in our consideration for the viewer in the present context, I then present a synoptic reception model for the interpretation of images in both their original forms and reproduced states. These two modes of viewing hinge upon spatial constructions: that of real spaces (e.g., museums, galleries, etc.) and virtual spaces (e.g., the Internet and other ephemeral media). Instead of relegating reproduced images to the art-historical basement, I argue for the productive interpretation of reproductions through a staged theoretical intervention between Jacques Derrida, Hans-Georg Gadamer, and Walter Benjamin. In order to demonstrate the use of my reception model, I conclude with a case study of a particular image--Francisco de Goya's Untitled (Saturn Devouring One of his Children) of 1820-1823. From the painting's beginnings in a farmhouse in Spain through the vicissitudes of nearly 200 years of grafting--from mural to canvas, Madrid to Paris and back again, and as a reproduced image in its "afterlife"--I analyze the aura of the image as imputed by its viewers. I argue that each subsequent reproduction of the image does not necessarily cause a loss of aura, but that conversely and paradoxically, aura actually increases. I analyze the act of viewing itself not as a passive act of visual consumption, but as an interactive process of cumulative production. In this fashion, the reproduced image can play a significant role in the formation of identities and possesses the phenomenological potential to lead to increased self-awareness. / text

[ES] El mexicano Guillermo del Toro, ha contribuido a enriquecer la estética y mitología del cine fantástico y de terror. Gracias a los seres dentro de sus filmes, e inspirados en los espectros de las pinturas y grabados de Francisco de Goya y Lucientes, el realizador presenta, mediante ensoñaciones maravillosas, los traumas y conflictos que se han arrastrado durante la historia; sobre todo en épocas de conflictos bélicos y sociales. La investigación que aquí se plantea, busca reivindicar el valor estético y ético de la obra de Goya dentro del cine contemporáneo. Así se propone un recorrido iconológico comparativo que rescata la influencia del arte del aragonés en los largometrajes del latinoamericano. / [CA] El director mexicà Guillermo del Toro, ha contribuït a enriquir l'estètica i la mitologia del cinema fantàstic i de terror. Gràcies als éssers dins dels seus films, i inspirats en els espectres pictòrics de les pintures i gravats de Francisco de Goya y Lucientes, el realitzador presenta, mitjançant ensomnis meravellosos, els traumes i conflictes que s'han arrossegat durant la història; sobretot en èpoques de conflictes bèl·lics i socials. La investigació que ací es planteja, vol reivindicar el valor estètic i ètic de l'obra de Goya dins del cinema contemporani. Així es proposa un recorregut iconològic comparatiu que rescata la influència de l'art de l'aragonés en els llargmetratges del llatinoamericà. / [EN] Guillermo del Toro, the Latin American director, has contributed to enriching the aesthetics and mythology of fantasy and horror films. Thanks to the beings in his films, inspired by the pictorial spectrums of the paintings and engravings of Francisco de Goya y Lucientes, the director presents, through fantastic reveries, the traumas and conflicts that have dragged through history, especially in times of war and social conflicts. The research proposed here seeks to vindicate the aesthetic and ethical value of Goya's work within contemporary cinema. Thus, a comparative iconological tour is proposed that rescues the influence of the art of the Aragonese in the Latin-American movies. / Ponce Tarre, JE. (2023). Totalitarismo y ficción. Goya y sus espectros en el cine de Guillermo del Toro [Tesis doctoral]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/194753