Publication: Películas habladas
Authors
Araújo, Celeste
item.page.secondaryauthor
item.page.director
Publisher
Murcia: Servicio de Publicaciones de la Universidad de Murcia
publication.page.editor
publication.page.department
DOI
item.page.type
info:eu-repo/semantics/article
Description
Abstract
A partir de una serie de conversaciones con cineastas españoles,
Alberto Cabrera Bernal, Laida Lertxundi, Antoni Pinent y Oriol
Sánchez, a propósito de los procesos de trabajo que están por
detrás de algunas de sus películas, se intentó crear un espacio de
discusión sobre el medio fílmico. Las cuestiones que se colocan
en cada una de las cuatro partes del texto –que mantiene cierta
estructura y espontaneidad del diálogo–, además de dar cuenta
del cine que se hace en un determinado ámbito geográfico,
atañen al propio dispositivo cinematográfico. De manera que,
estos diálogos, encadenados unos tras otros, sin armonizarse ni
establecer relaciones de dependencia entre ellos, son verdaderos
documentos que contienen elementos concretos del lugar donde
se hicieron estas películas y, al mismo tiempo, nuevas formas de
pensamiento fílmico.
ABSTRACT: Gathering several conversations with four Spanish filmmakers, this text seeks to create a space for discussion on the nature of the cinema made in a particular geographical enclave at a particular time—our time. The text does not intend to harmonize or establish relations of subordination or dependency among the four exchanges that compose it. It seeks to preserve some of the spontaneity and loose structure of the original oral dialogues. These revolved mainly around working processes and what the different filmmakers take to be the nature of the medium. While they seek to document and account for the variety of approaches engaged in by the filmmakers that have collaborated in the text and have offered their testimony, it also proposes new ways of imagining the cinematic.
ABSTRACT: Gathering several conversations with four Spanish filmmakers, this text seeks to create a space for discussion on the nature of the cinema made in a particular geographical enclave at a particular time—our time. The text does not intend to harmonize or establish relations of subordination or dependency among the four exchanges that compose it. It seeks to preserve some of the spontaneity and loose structure of the original oral dialogues. These revolved mainly around working processes and what the different filmmakers take to be the nature of the medium. While they seek to document and account for the variety of approaches engaged in by the filmmakers that have collaborated in the text and have offered their testimony, it also proposes new ways of imagining the cinematic.
publication.page.subject
Citation
item.page.embargo
Collections
Ir a Estadísticas
Sin licencia Creative Commons.