Publication: Film poetry. Repensando el cine de Vanguardia: Arte en movimiento y poéticas visuales
Authors
Villaplana Ruiz, Virginia ; Ortuño Mengual, Pedro
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Publisher
Sociedad de Española de Estudios de la Comunicación Iberoamericana (SEECI) http://www.seeci.net/revista/index.php/seeci/index
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DOI
http://doi.org/10.15198/seeci.2018.47.01-15
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info:eu-repo/semantics/article
Description
©2019. This manuscript version is made available under the CC-BY-By NC 4.0 license http://creativecommons.org/licenses/by-nc-nd/4.0/
This document is the Published, version of a Published Work that appeared in final form in Revista de Comunicación de la SEECI. To access the final edited and published work see http://doi.org/10.15198/seeci.2018.47.01-15
Abstract
Este artículo tiene como primer objetivo, agrupar las vanguardias artísticas cinematográficas en tres grandes variables estéticas, “Film-poem como abstracción”, “Film poetry como modelo analítico” y “Film como poesía dialéctica”, relacionadas con las teorías críticas y los escritos de los propios cineastas. Por una parte se analizan las poéticas de Abel Gance, Germaine Dulac, Marcel L´Herbier, Jean Epstein, Louis Delluc, Marcel Duchamp, Walter Ruttmann, Man Ray y Dziga Vertov. Un segundo objetivo sería el repaso de la noción de cine de vanguardia mediante las aportaciones de la teoría fílmica elaboradas por Jean Mitry, Bill Nichols, Malcolm Turvey, Vicente Sánchez-Biosca, Bruce Elder y Carlos Tejeda entre otros. Dichos autores nos permiten abordar metodológicamente las distintas dimensiones que caracterizan el Film-poem como abstracción, modelo analítico y como poesía dialéctica. Estos ideales estéticos y filosóficos están vinculados a las experiencias de las artes plásticas y del arte contemporáneo. Del mismo modo, este artículo expone la concepción poética del movimiento de vanguardia interrelacionando obras fílmicas del arte experimental a partir de modelos de representación.
This article has a first objective, to group the avant-garde film in three big variables aesthetic, as abstraction, “Film-poem as abstraction”, “Film poetry as analytical model” and “Film as dialectic poetry”, related to critical theories and writings of the filmmakers themselves. This paper on the one hand analyzes the poetics of Abel Gance, Germaine Dulac, Marcel L'Herbier, Jean Epstein, Louis Delluc, Marcel Duchamp, Walter Ruttmann, Man Ray and Dziga Vertov. A second objective would be the review of the notion of avant-garde cinema is reviewed by the contributions of the film theory developed by Jean Mitry, Bill Nichols, Malcolm Turvey, Vicente Sánchez-Biosca and Carlos Tejeda among others. These authors allow us to approach methodologically the diferente dimensions that characterize Film-poem As abstraction, analytical model and dialectical poetry. These aesthetic and philosophical ideals are linked to the experiences of the plastic arts and contemporary art. In the same way, this article exposes the poetic conception of the vanguard movement interrelating film works of the experimental art from models of representation.
This article has a first objective, to group the avant-garde film in three big variables aesthetic, as abstraction, “Film-poem as abstraction”, “Film poetry as analytical model” and “Film as dialectic poetry”, related to critical theories and writings of the filmmakers themselves. This paper on the one hand analyzes the poetics of Abel Gance, Germaine Dulac, Marcel L'Herbier, Jean Epstein, Louis Delluc, Marcel Duchamp, Walter Ruttmann, Man Ray and Dziga Vertov. A second objective would be the review of the notion of avant-garde cinema is reviewed by the contributions of the film theory developed by Jean Mitry, Bill Nichols, Malcolm Turvey, Vicente Sánchez-Biosca and Carlos Tejeda among others. These authors allow us to approach methodologically the diferente dimensions that characterize Film-poem As abstraction, analytical model and dialectical poetry. These aesthetic and philosophical ideals are linked to the experiences of the plastic arts and contemporary art. In the same way, this article exposes the poetic conception of the vanguard movement interrelating film works of the experimental art from models of representation.
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Citation
Revista de Comunicación de la SEECI. nª 47
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