Cinematography

El Diccionario de conceptos y términos audiovisuales, tal y como reza el subtítulo, es una herramienta conceptual, docente y práctica, orientada a su uso como consulta y, en su caso, divulgativa. Si bien el objetivo esencial es que el lector pueda navegar con seguridad en el entorno de los innumerables términos necesarios para la ejecución del análisis fílmico, no queda ahí su validez. De hecho, cada término va acompañado de bibliografía (elemental, si se quiere, pero indispensable) que permitirá con facilidad ampliar las líneas de autoformación propias de cada individuo, con especial rentabilidad para los alumnos universitarios.
No se pretende una acumulación global de conocimientos ni tampoco una visión holística, sino un anclaje de punto de partida que permita dar el salto hacia mayores capas de comprensión del universo audiovisual, incluyendo las múltiples novedades aportadas por la era digital. Para ello, se sigue la estela de los 'Keywords Reference Books' y más concretamente del excelente texto de Jacques Aumont y Michel Marie, ?Dictionnaire théorique et critique du cinéma', más orientado hacia la teoría que hacia la divulgación de los recursos expresivos y narrativos, campos ambos que aquí sí se abarcan.
Este es un texto inédito en nuestro panorama editorial y a buen seguro se ampliará y crecerá con las aportaciones críticas de los lectores y, además, se refuerza mediante ejemplos gráficos en el sitio web construido al efecto, de libre acceso, http://www.analisisfilmico.uji.es.

In this paper, I watched and analyzed Beyoncé's visual album Lemonade, looking at different visual aspects of her music videos to find the key concepts of Beyoncé’s message of betrayal, forgiveness, and redemption. I analyze visual parallels to other films, the filming locations, the characters featured in the videos, as well as the poetry and how these elements are used to create a cohesive and complex narrative. I also seek to connect the visuals to the lyrics to see how they comment on each other and point to the important cultural and historical sub-texts that go far beyond a tale of infidelity and betrayal. Lemonade is a celebration of Black women, an honest look at their history, and an exploration of the ongoing struggles they face. Beyoncé, most importantly, wants the Black woman to be heard and voiceless no more.

ÖZET
Baslangıcından günümüze kadar sinemanın gelişme süreci,gerek estetik gerekse teknolojik alanlarda fotograf ile benzerlikler gösterir.Kimyasal olarak ilk görüntü sabitlendiğinden beri, perde'nin de keşfiyle, insanoğlu görüntüleri daha yüksek hızlarda kaydetme ugrasısı içinde olmustur.Hızın kaydı konusundaki tüm bu gelişmelerde, insanlığın endüstri devrimi ile yaşadığı gelişmeler etkili olmuştur. Hızın kaydı sonucu ortaya çıkan birtakım mekanik gerçekler bilim , sanat ve felsefe adamlarının yaşamı daha farklı sorgulamasına yol açmış, bu sorgulamalar sonucunda elde edilen veriler hem klasik sanat anlayışının hem de sinemanın ve onu var eden teknolojinin gelişmesine yol açmıştır.
Gelişim süreci içinde sinemaya,sanatsal kaygılar ve fotoğraf kadar, toplumsal olaylar ve savaşlar da etki etmiştir. Estetik arayışların ortaya çıkardığı ve geliştirdiği “aydınlatma” hem teknolojiden hem de toplumsal düşünce değişimlerinin sinemaya yansıtılması kaygısından etkilenmiştir.Toplum hayatı değiştikçe birtakım tarzlar gelişmiş , onların ifadesi için teknolojik yöntemler ilerletilmiştir.
Tabi sinemayı sinema yapanın, “kurgu” öğesi olduğu asla unutulmamalıdır.Ancak yine de kurgu sonucunda ortaya izlenebilir bir görüntüler topluluğu çıkabilmesi için ışığı, kamera devinimi, kompozisyonu tam görüntüler elde etmek gerekir.Aynı zamanda fotoğraf ile sinemanın kesiştiği öyle noktalar vardır ki, nerdeyse artık sinematografi tamamen fotoğraf makinası ile oluşturulur.
Final bölümünde ise fotoğraftan en çok faydalandığına inandığımız kendisi de başarılı bir fotoğrafçı olan Alman yönetmen Wim Wenders'in “Paris-Texas” filmine değinmek, tüm bu işbirliğini nereye dayandırmak istediğimizi, daha doğrusu bu iki teknolojinin nasıl dayanışmaya devam ettiğini açıklamak için iyi bir örnek oldu.
ANAHTAR KELİMELER:Sinematografi,Görüntü Yönetmeni, Yeni Dalga, Yeni Gerçekçilik,Alman dışavurumcu Sineması, WimWenders, Kara Film, Fotoğrafi




SUMMARY
From the beginning of their invention until today, there's always been similarities, between photographic and cinematographic progress in both aestethic and technological issues. From the day which first chemical photographic prodress has been done, there has always been progress in the issue of speed which photographers took its care by the invention of the shutter. There's another effective issue on the thought of speed which named “Industrial Revolution”. And with the results of “catching the speed of movement” there appears a lot of facts that influenced the thoughts of scientists, artists and philosophers about the daily life.After the questioning about the daily life , there has been extremely radical changes in classic art, science and social life which basis of cinematographic progress has been aranged on.
Cinematographic process ,effected by social life and by the wars, as much as aestethical and tecnological issues in its duration. Also the issue of “illumination” effected by the change of social life , that came with facts of war which also made changes on aestethic concerns.
It must be never forgotten that cinematoraphy owed its existence to “editing”. But there has never been a film which observed “good editing but bad photography”. If there's no good photography there will never be good editing after the film has been shot.
In the final , I have tried to prove my thesis with the best example which I ever thought.German director Wim Wender's film “Paris-Texas” is the best example which we can ever find, when we try to look for a analogy between the photography and cinematography.
KEYWORDS:Cinematography, Cinematographer, New Wave,Neo Realismo,German Expressionist Cinema, Wim Wenders, Film Noir, Photography

Der Begriff des Interface kategorisiert die Ausprägungsstufen einer kommunikationsstabilisierenden Schnittstelle als Interaktionsmechanismus, wobei die Interaktion von maschinellen Komponenten (Hardware, Software) sowie die vielfältigen Interaktionen zwischen UserIn und Maschine zur Geltung gebracht werden.

This chapter aims to present mental representations by seven audiovisual specialists on Sirena, the antagonist of a noir fictional story in a multilinear interactive short film script. To this end, a reception study was created with in-depth interviews with specialists after reading the script to discuss its several aspects. This approach is of qualitative character. The study was conducted between June and October 2015 in São Paulo, Brazil. It is possible to perceive that participants have interpreted the character differently in spite of its consistent build. We could verify that the mental representation of the antagonist was aided by the world-view and experience of each interviewed specialist, which has led to unique readings of the character.

Resumo: Esta comunicação apresenta um sistema de notação coreográfica para câmera-na-mão, inspirado pelo estilo de trabalho do diretor de fotografia Dib Lutfi.
Palavras-chave: Cinema, cinegrafia, coreografia, videodança, videodançarino

Abstract: This communication features a handheld camera choreographic notation system, inspired by the work style of the cinematographer Dib Lutfi.
Keywords: Cinema, cinegraphy, choreography, videodance, videodancer

Publicado nos anais de textos completos da XXIII SOCINE.
ISBN: 978-65-86495-00-3

There are many genres in film industry and also each film is designed to serve specific or general audiences. Therefore, specific genre has different target of audiences such as crime genre which is usually not for all-age audiences. Each genre also has different purpose in the making of the film. Horror film is produced to make people or audiences scared by showing a horrible creature or about death (Natadjaja: 2005). Based on the purpose of horror film, in this paper I would like to discuss about the cinematography in horror film in order to see how cinematography in horror film builds scary atmospheres.

Intellectual Property, Nollywood, Creative Industry, Nigerian Copyright Laws, Digital Copyright, International Trade & Development, Transactional Negotiation, Animation Rights, Naijacomedy, Folklore, Traditional Cultural Expressions, Celebrity Branding, Fashion Design, Trademarks, Cyberspace law, Contract laws, Creative Human Capital, Technology law, Technical Protection Measures, Nigerian Copyright Commission, U.S. Copyright Office, Afrollywood, Afrondise, Technical Protection Measure, Digital Copyright Millennium Act, ECOWAS, WTO, TRIPS, WIPO, Cultural Appropriation, Cultural Anachronism, Fair Use, Fair Dealing, Bollywood, Ghallywood, Hollywood, Kennywood, Jollywood, Joziwood, Vollywood, Piracy, Cinematography, Films, Animation, Fashion design, Folklore, Customary law, Nigerian Legal System, Music, Derivative Rights.

Within the scope of ANSWER, an EC-supported research project, a new artistic notation system, called DirectorNotation, is being developed for describing media content, much like notes are used to document a music composition. Our current research focuses on developing “notation-enabled ” offline authoring tools, but interactive applications are an anticipated extension. Here, we summarise the key aspects of DirectorNotation and the ANSWER project, from the point of view of a multimedia-technology audience interested in content-based manipulation of media. Categories and Subject Descriptors

Me gustan las películas que están construidas con muchas capas, las que me enseñan y estimulan sensitivamente. Parasite tuvo un plan meticulosamente diseñado, cada elemento de la película ha sido una decisión y sus consecuencias altamente impredecibles no han hecho más que fascinarme. Lo más interesante es que no es una película de buenos y malos, ni siquiera tiene un solo género que la categorice, es una historia que expone figuras y las entreteje en un potente cuestionamiento social expuesto en la dinámica de tres familias. Quiero destacar los recursos que traducen esta premisa a lo audiovisual además de la dirección estupenda de Bong Joon-ho: el diseño de producción, que con las dimensiones de los espacios y escaleras donde se desarrolla gran parte de la historia separa arquitectónicamente el lujo de la miseria; la edición y montaje, que le dan ritmo a las imágenes como si de danza moderna se tratara, además, es este ritmo acompañado del diseño sonoro, que logra que el género y las etiquetas del film se hagan indescifrables; por último, destaco la fotografía a cargo de Hong Kyung-pyo, porque la película maneja técnicas cinematográficas básicas pero son muy efectivas y metafóricas que logran comunicarse delicadamente a través de la luz, los cuadros y los movimientos de cámara, elementos que desglosaré individualmente a continuación. Movimientos de cámara Es curioso cómo la presentación de la película y de la familia pobre sea con un movimiento de cámara hacia abajo que se dirige desde el nivel regular del piso hacia un subsuelo mostrándonos claramente que se trata de una familia muy pobre que vive en una situación por debajo de lo normal. También podemos notar este movimiento cuando la familia regresa a casa durante la tormenta después de escapar de la mansión de los Park. Todo el recorrido de los Kim es retratado hacia abajo, tanto en planos picados como en movimientos de grúa. La familia Kim está regresando a su realidad después de escaparse fallidamente de ella.

The filming which resembled the theatre during the first years of the cinema due to the stability of cameras, cinema completely underwent changes when the film-makers discovered that the location of the cameras might be changed and the opportunities of the cinema for narration were reformed. The places to be filmed, actors and the parts which completely seen in the viewfinder were determined according to the issues the director desires to film. All the elements forming the enactment such as zooming, plans, camera movements, colors, and lightening, sound, acting and visual effects have shaped the narration and provided strength and this occasion drew the attention of the audience to the motion picture screen.
              All the principles of composition from lightening to colors, from the perspective of the cameras to the camera movements gained settled meanings throughout the prolonging years. Except the settled meaning, the majority of directors sometimes consciously abandoned this
meaning in order to create different effects. First of all, the settled meanings should be known in order to perceive those usages. The trials related to the effects of the composition have been going on since the beginning of the history of cinema and will continue in the future.
                In all the activities of imagery, directors had to be creative in order to scope with the limitedness in their struggles against the materials of imagery. Akira Kurosava who is owner of the scenes with poetic narration each and creative cinematographic application is also regarded as one of the most important and impressive directors of the cinema history. For that reason, a general review of the cinematographic structure of the movie “The Dreams” which is one of the most spoken films. The sampling which we tackle in this direction is the first two short films and we aimed to analyze them through “the critics for enactment” in accordance with the determined parameters.

La posguerra abrió un periodo de restauración social católica en España, paralelamente al comienzo de una nueva etapa en la cinematografía nacional basada en inquietudes temáticas diversas, así como la aparición de toda una generación de cineastas afines al franquismo, estableciendo un nuevo horizonte de relaciones entre catolicismo y cine.  La política cultural del Nuevo Estado estuvo directamente encaminada al adoctrinamiento ideológico, pero también a cubrir las necesidades de ocio de la sociedad, primordialmente de aquellas  familias más humildes, que formaban un trascendente porcentaje del público. La explosión social y cultural del catolicismo en la posguerra, más los apoyos oficiales del régimen, les animaron a producir una serie de films que, tomando como base la religión o alguno de sus representantes más significativos, se diseminaron sobre todo durante la década de los años cincuenta, tras un interesante preludio en los cuarenta. En el presente volumen se analizan los mensajes, la producción, la cuestión de género, la crítica cinematográfica, el cine histórico como recurso didáctico y las relaciones entre catolicismo y Séptimo Arte, un tema que no dejará indiferente a los lectores interesados en la historia de nuestro siglo XX.

Despite being used to great effect in a handful of films, the technique of “third-person images” remains a largely unexplored topic within film studies. This peculiar phenomenon constitutes a particularly interesting and challenging object of research, as its demands a larger, multi-layered understanding of points of view in narrative cinema. The purpose of this thesis is thus divided into two parts: First, to present an expanded definition of the expression “point of view” that more adequately deals with the various technical, aesthetic, and narrative elements of a film; and second, to introduce and examine third-person images in an attempt to discover the fundamental qualities of this peculiar technique. In so doing, the goal of this study is to determine what makes third-person images so unique and what they might contribute to the films that feature them.
Using an approach I term techno-aesthetic, this thesis examines with equal focus the technical, aesthetic, and narrative elements of a film. Specifically, these are discussed in terms of their various interactions, rather than independently of one another. Precise descriptions of the technical apparatus are paired with a rigorous analysis of the camera movements it produces. In turn, this informs an examination of the type of narrative subjectivity that this technique represents on screen. A scene from Requiem for a Dream (Darren Aronofsky, 2000) serves as the object of these analyses, and illustrates both the specificities of third-person images, as well as the complexity of points of view in narrative cinema.

Aki Kaurismäki’s film style has often been labelled minimalist, but the concept has been used without an exact definition and even fundamental questions relating to his minimalism have gone unanswered. This article contextualizes Kaurismäki’s cinematography as well as explores in detail his systematic and significant use of camera techniques that can be productively understood as minimalist. Examples demonstrate how Kaurismäki’s camera positions the audience in a specific relationship to the story world and its characters, guiding viewers to experience these from what is termed the camera’s minimalist point of view.

Since cinema's earliest days, literary adaptation has provided the movies with stories; and so we use literary terms like metaphor, metonymy and synecdoche to describe visual things. But there is another way of looking at film, and that is through its relationship with the visual arts – mainly painting, the oldest of the art forms.

Art History for Filmmakers is an inspiring guide to how images from art can be used by filmmakers to establish period detail and to teach composition, colour theory and lighting. The book looks at the key moments in the development of the Western painting, and how these became part of the Western visual culture from which cinema emerges, before exploring how paintings can be representative of different genres, such as horror, sex, violence, realism and fantasy, and how the images in these paintings connect with cinema.

Preview the book here: http://bit.ly/318MAXN

Blogging Art History for Filmmakers on Facebook https://www.facebook.com/arthistoryfilm/

This story of a girl who dances in a cursed pair of red shoes until she dies parallels Vicky’s own ambitions as a dancer, as well as the decisions she must face between her love for Julian and her success at the ballet company. Powell and Pressburger compose a ballet rich with color, music, visual effects, and drama with such refined filmmaking, enhancing both the energy and the agony of the dance by taking advantage of various cinematic techniques and the technology of the time- such as the use of symbolic Technicolor. One of the greatest scenes in Michael Powell and Emetic Pressburger’s film ​The Red Shoes ​(1948) is the ballet performance from which the film is named after, drawing together all of the crucial elements of filmmaking such as writing, mise-en-scène​, and cinematography, to create a profound impression upon the audience through the scene’s highly artistic and emotionally engaging construction.

Американский режиссер Уэс Андерсон в декабре 2014 года выпустил в прокат очередной шедевр — «Отель Гранд Будапешт». С одинаковым энтузиазмом фильм приняли и публика, и критика — как раз тот случай, когда сложность конструкции, техническая и художественная, не только поспособствовала балансу киногении и движения, но и не вызвала снижения оценки среднего зрителя (предельно высокой). Подобные достижения способны оценить такие опытные аналитики арт-рынка, как Борис Гройс, для которого внимание поп-вкуса означает: искушённый месседж достиг всех возможных адресатов.
Успех объясняется и совпадением ряда факторов, первый из которых – продуманная эстетическая режиссёрская парадигма, чьи составляющие совершенствуются с каждым новым фильмом. Речь идет о некоей идеальной модели визуальности, в которой сведены определяющие компоненты, делающие кинематограф приоритетным искусством. Мир Андерсона выстроен с тщательностью демиурга, что создаёт впечатление природной отлаженности функционирования механизма фильма: элементы организованны в систему подсознательно, будто в улье. Системы значений визуальных знаков подведена под действие категории Возвышенного — полюса диалектической пары «Прекрасное/Возвышенное» у Канта. Можно допустить спонтанность этого действия, но, вероятнее, Андерсон конспектировал «Критику способности суждения» во время изучения философии в Техасском университете в Остине. Режиссёр не даёт комментариев по поводу созданной им системы, предпочитая оставаться стороной оппозиции «объясняющий/показывающий», но его универсум включает дискурсивные элементы, достраивающие визуальные знаки до некоторой предельной полноты очевидности.

The present research study delves into the possible reasons the
scriptwriter of the series Doctor Who (2005) attempted to include
atemporal items of vocabulary in the episode “The Shakespeare Code”
(2007), shedding light on the possibilities of considering this TV series as
a source for learning about the historical development of language. The
changes that English went through throughout time are clearly seen in
the different episodes, where the Doctor adapts his language to that of
past times, being careful not to present something from the future in the
past.

Language adaptation and specific mise-en-scene are developed in its
episodes with such attention to detail that it becomes an interesting point
of departure for the discussion of the historical and literary events
presented. TV series creators, without considering their products as
learning materials, provide teachers with important sources to work with.

Based on the theories of Roland Barthes on the five codes of language
and Mikhail Bakhtin’s concept of chronotope, this dissertation aims to
explain the chronotopical insertion of vocabulary and the use of specific
misé-en-scene to give insights into the importance of analysing
chronotopes in the English language classroom. The analysis and
definition of the different chronotopes provides insights on the way the

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scriptwriter manipulates discourse to portray different power relations in
the series.

By researching the relationship of the different chronotopes present in
the scene, it became evident that there is a need of deep analysis of the
materials used in language classroom to provide students with better
tools to acquire the language, given the different learning needs of
participants. From the careful selection of mise-en-scène to the right
choice of vocabulary on the part of scriptwriters, together with the
carefully portrayed characters, viewers can easily understand each
character’s role at each moment in the episode. The different
chronotopes analysed provide an interesting point of view of
Shakespearean times, at the same time that viewers create their own
atmosphere from the series. Discourse manipulation helps the creation
of the different chronotopes, which, in turn, viewers understand as
different parts of a unique whole - the episode. All together, they create
the meaning and atmosphere the scriptwriter wanted to transmit in the
episode.

Furthermore, technical elements such as camera shots and angles,
lighting changes and misé-en-scene were examined to explain the
purpose for each element to be present in the scene.

This can be a useful resource for teachers’ practices so as to enhance
students’ understanding of language changes throughout times. The
episode would then serve as a useful tool to aid the teaching of language
and culture of English, with a clear focus on language development.

Key words
chronotope – language code – discourse manipulation - power relations - technical elements

La cinta "Margaritas" es el retrato de dos adolescentes inocentes pero malcriadas que en su aventura hacia volverse tan malas como el mundo, se cuestionan si algo de lo que hacen importa. La respuesta que obtienen invariablemente es no, no importa.

The paper focuses on utilising new media communication tools-'Cinemagraph'-in creating a new horizon in science communication with a potential to boost scientific temper. The usefulness of this medium lies in its ability to run without any specific player; it requires low internet bandwidths to download and can be played on new media devices with minimal resources. Technically, Cinemagraph is a still image medium but portions of the image are set in motion in a continual loop. This motion must follow the same trajectory, which is usually 2 to 4 seconds in duration. Aesthetically, it is not just a mere hybrid of still and motion as it evokes arousal and has the attention arresting quality of a video and the memory of a still image. The paper takes a look at the uniqueness of the Cinemagraph that has the subtlety of 'focussed movement' captured and played consistently in the picture. This distinguishes it from both a still photograph and a moving video or animation. These qualities of a Cinemagraph have facilitated its utilisation by international brands as an effective tool of social media marketing and out of home advertising and is expected to capture the domestic and global advertising market very soon.

Escribir sobre las impresiones que te causan las imágenes de una película-no la película en sí-es de las cosas más gratificantes para mí. Hay momentos cinematográficos que me impactan con tan solo verlos y lo único que soy capaz de hacer es llevarme las manos a la boca y quedarme así por varios minutos. Esto ocurre cuando la historia nos sumerge extrañamente en emociones ajenas y pone en evidencia que lo nuestro no es en realidad ajeno para nadie, lo que sentimos es humanamente real. El cine de Wim Wenders provoca este efecto en mí, la imagen normalmente suele ser un refuerzo narrativo en una película pero en su obra resulta ser la historia en sí. Sus imágenes tienen un valor "mostrativo", no representan o acompañan, son el film. Su plan es entrar en la psique del espectador a través de la composición y el color además de los diálogos y desempeños actorales poderosos que suelen componer sus historias. "Paris, Texas" tiene ese balance entre el poder visual y el poder del relato. La imagen tiene el papel de regalarnos datos, situarnos en estados interiores y lugares exteriores retratando temas como la familia, el olvido, el desencanto de los sueños y la búsqueda del ser a través del viaje como detonante de un camino interior hacia el autoconocimiento y la aceptación de uno mismo. Wim Wenders y el destacado director de fotografía neerlandés, Robby Müller, comparten responsabilidad creativa y utilizan el poder de la fotografía para traducir estas ideas en cuadros cinematográficos con imágenes estéticamente puras que sostienen gran peso emotivo del film.

Desde su aparición en 1971, 'El mundo visto' de Stanley Cavell ha marcado una pauta en los estudios sobre cine al elevarlo a la altura de la filosofía y ha supuesto un desafío para la propia filosofía de Cavell, enfrentada al escándalo del escepticismo con la mirada de un experimentador cinemático.

In 1996, The Quiet Man topped an Irish Times poll for the best Irish film of all time. Almost ten years later, with many more Irish (and Irish-themed) films made, The Quiet Man still occupied number four in a poll of 10,000 people across Ireland. John Ford's greatest commercial success, the film also set a template for Ireland's representation, and promotion, for over half a century.

This book, The Quiet Man ... and Beyond, involves both critical analysis of aspects of The Quiet Man as myth, commodity and fetish and the celebration of a film that has sustained considerable academic attention and popular appreciation since its release in 1952. Among the topics considered are the complexity of the film's relation to Ireland, to Irish literature and to John Ford's other films; its perceived place with regard to indigenous Irish cinema; and the phenomenon of its circulation and reception as a cult film over the years.

Contributors include Ruth Barton, James P. Byrne, Sean Crosson, Fidelma Farley, Roddy Flynn, Adrian Frazier, Luke Gibbons, Michael Patrick Gillespie, Conor Groome, John Hill, Des MacHale, Barry Monahan, Brian O'Conchubhair, Diog O'Connell, Caitriona O'Torna, Tom Paulus, Sean Ryder, Eamonn Slater and Rod Stoneman.

The aim of the article is the interpretation of spatial systems which were created by Andrei Zvyagintsev in the film Elena. The analysis shows that the space allows recognizing not only the quality of the relationships existing between the characters but it also encodes and anticipates the fictional pattern of this work of art. The verbal layer seems to play a minor role, i.e. it supplements and modifies observations of the recipient who
uses the spatial code. The meaning is expressed in the juxtapositions of subsequent shots, functioning as assonances or dissonances, as well as in the inner montage of single units, revealing important elements of the film structure. The spatial systems which turn attention to the ambiguous nature of the reality constitute the dominant metaphors of the film, which — together with the play of the light and darkness — can be read
as signum of the disintegration of the contemporary world.

From  killer  machines  to  benign  aliens  and  reliable  androids, director, screenwriter and producer James Cameron has included a variety of technological, non-human  identities  in  his  films.  The  aim  of  this  paper  is  to  provide examples  of  the cinematic discourse used to depict these entities, based on examples from Cameron's films such as The Terminator, The Abyss and Aliens, as well as possible interpretations of this discourse.

¿Qué es un film? Sino un documento animado… un guion, un formato de una obra o una película; una forma escrita que luego ejecuta una acción en el presente, para perpetuar imagines en el futuro digitalizado o simplemente el pasado repetido en el futuro cuantas veces queramos. O no somos capaces los profesores y/o maestros de la historiografía o historia descifrar este acertijo antropológico; sin entrar en restricciones y reglas anal-retentivas de lo que debe ser una reseña historiográfica, perdiendo por completo de perspectiva la utilidad educativa de un documental o film que no necesita complementación bibliográfica. Es esta mecanización de la historia la que queremos ofrecer a nuestros estudiantes o alumnos. Que formas recalcitrantes y de educación bancaria promovemos como educadores al reseñar o criticar documentales o películas con formatos pre hechos y/o predeterminados.

Esta contribución explora la relación cine-paisaje considerando la cinematografía como generador, como elemento activo y no solo como medio pasivo de registro visual. Sostiene que la representación cinematográfica puede modificar, configurar e, incluso, crear por sí misma contextos espaciales. O, en otras palabras, que la imagen en movimiento actúa como vehículo para la significación de un espacio físico al que se asocian imágenes, sentimientos, recuerdos o deseos.
Como ejemplo de este fenómeno se explora el caso del desierto de Tabernas, en Almería. Este paisaje había permanecido hasta mediados del pasado siglo como un territorio local, casi anónimo y apreciado, en gran medida, por sus atributos naturales. Sin embargo, la cinematografía ha venido conformando durante las últimas décadas un imaginario visual inevitablemente ligado a este paisaje. El artículo presenta las huellas materiales e inmateriales que el cine ha generado y que, a día de hoy, son testigo de una intensa acción antrópica. Además, a través del concepto de lugar, analiza cómo este fenómeno ha afectado a su significación cultural.
Para ello, se plantean algunas cuestiones en relación a la experiencia y significación patrimonial del desierto de Tabernas, con el objetivo de entender qué rol juega la representación cinematográfica como factor cultural propio y ya indisociable de ese paisaje: ¿conviene reconocer algún tipo de fisicidad a un interés originado por la cinematografía? ¿Qué caracteriza la vinculación afectiva de una comunidad con el territorio que habita cuando un elemento inmaterial, como la cinematografía, lo significa? ¿Qué rol juegan los vestigios que ha dejado el cine sobre los espacios físicos que alguna vez representó?

Dans le jargon cinématographique, Alfred Hitchcock est surtout connu comme « le maître du suspense ». Sans doute, à travers ses gestes cinématographiques, il a crée sa propre mode de représentation au sein du thriller. À travers sa caméra, il exerce un véritable effort pour créer la tension, paralyser le spectateur d'inquietude, et pousser l'angoisse à son paroxysme. Or, il est évident que tous ces moments décisifs exigent une base solide, c'est-à-dire un point de départ sur lequel l'histoire s'appuie. Evidemment la virtuosité de Hitchcock réside non seulement dans sa capacité à produire un effet dramatique mais aussi dans sa manière de faire avancer l'action de son état initial vers l'élément déclencheur. Prenons l'exemple de « L'inconnu du Nord-Express », qui s'articule autour d'un chassé-croisé de meurtres entre deux inconnus. Afin d'établir son récit Hitchcock recourt à l'idée du noeud. Bien entendu, pour qu'il s'agisse d'un croisement, il faut d'abord une rencontre. Hitchcock déplace cette obligation narrative vers un niveau visuel. Dans cette exercise, à travers la sequence d'ouverture de L'Inconnu du Nord-Express nous allons essayer de voir comment on peut representer un croisement, avant que les personnages ne se rencontrent.