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RESUMEN Durante las ultimas decadas del XIX, y de manera muy especial con la llegada del nuevo siglo, los mass media dirigieron una mirada preeminente al entorno urbano que los vio nacer, mostrando imagenes de su devenir contemporaneo pero tambien especulando con un futuro que, en ocasiones, ilustraba mas fidedignamente las particularidades de su presente. Con la aparicion del cine, privilegiado ojo mecanico con el que registrar la acelerada realidad urbana, este proceso adquiriria una nueva dimension, y pronto el medio se uniria a esta fructifera especulacion, produciendo versiones propias de la ciudad del manana dotadas de una provechosa capacidad textual. Utilizando el caso paradigmatico de Nueva York, “Al otro lado del espejo” propone un analisis de esta capacidad intertextual de la ciudad futura cinematografica, explorando los diferentes ‘dobles’ distorsionados que de Manhattan, ya sea directa o veladamente, han ofrecido diferentes filmes. Con paradas en Metropolis, Blade Runner, El Quinto Elemento o Immortel, entre otros, el texto explora la capacidad mayeutica de estos doppelganger urbanos que, situados al otro lado de la pantalla, desvelan rasgos y relaciones de sus referentes reales, y condicionan y modifican nuestra vision de la realidad urbana. SUMMARY In the last decades of the XIX century and especially in the subsequent turn of the century, the mass media turned a prominent gaze on the urban environment that witnessed its birth, showcasing images of its everyday life, and also speculating about a future that, sometimes, depicted more vividly the particularities of its present. With the advent of cinema, a privileged mechanical eye with which to record the accelerated urban reality, this process would rise to a new level, and soon the medium would contribute to this productive speculation, producing its own versions of the city of tomorrow, which showed a useful textual ability. Using the paradigmatic case of New York, “Through the Looking-Glass” proposes an analysis of the inter-textual ability of future film cities, exploring the distorted ‘doppelgangers’ of Manhattan shown, either directly or in a veiled way, by different films. With reflections on Metropolis, Blade Runner, The Fifth Element, or Immortel, among others, the text explores the maieutic ability displayed by these urban doppelgangers which, located on the other side of the film screen, unveil features and relationships of their real life referents, and condition and modify our own perception of urban reality.

NUEVA YORK, AL OTRO LADO DEL ESPEJO. EL CINE Y LA CIUDAD FUTURA COMO TEXTO