Pub Date : 2021-07-19DOI: 10.24310/FOTOCINEMA.2021.V23I.13033
Sergio Cobo-Durán, Irene Liberia Vayá
Este artículo aborda las filmografías de Joaquim Jordà y José Luis Guerin con el objetivo, por un lado, de identificar sus rasgos y estrategias creativas esenciales, y por otro, de analizar su influencia en la no ficción española del nuevo milenio, que protagoniza uno de los capítulos más interesantes de nuestra cinematografía reciente. Tras una profunda revisión bibliográfica y el uso del análisis textual fílmico como metodología principal, se han extraído una serie de estilemas y temas fundamentales que determinan la obra de Jordà y Guerin, entre los que destacan la hibridación genérica, la mezcla de formatos y recursos, la puesta en situación, la naturaleza autobiográfica, la polifonía de voces, la intermedialidad, el carácter biopolítico o el uso creativo del sonido. Posteriormente, se han rastreado estos principios de forma exploratoria en un conjunto de trabajos firmados por Isaki Lacuesta, Mercedes Álvarez, Carla Subirana y otros jóvenes cineastas asiduos de ese espacio limítrofe y tan fecundo entre la ficción y la realidad, que ha generado desde el cambio de siglo una estimulante producción audiovisual, además de una intensa y prolífica reflexión teórica.
本文阐述的filmografías Joaquim Jordà和jose Luis Guerin,一方面旨在查明其基本特征和创造性的战略,另一方面,分析非小说的影响力,在新千年的西班牙,protagoniza最有趣的章节之一最近的动画。之后深厚的文献综述,主要使用制片的文本分析的方法,已从一系列estilemas和确定的关键问题的作品JordàGuerin,包括通用的杂交,混合物的格式和大自然资源,落实情况、自传、语音复调intermedialidad创意biopolítico或使用性质的声音。随后,试探性地追踪了这些原则签署的一套工作Isaki Lacuesta alvarez,卡拉,奔驰Subirana等青年电影制作人老主顾的这条线相连,那么多产小说与现实变化以来,引发强烈的视听刺激生产,除了一个世纪理论与反思。
{"title":"Narrativas y estéticas hereditarias en la no ficción española: reminiscencias cinematográficas de la obra de Joaquim Jordà y José Luis Guerin","authors":"Sergio Cobo-Durán, Irene Liberia Vayá","doi":"10.24310/FOTOCINEMA.2021.V23I.13033","DOIUrl":"https://doi.org/10.24310/FOTOCINEMA.2021.V23I.13033","url":null,"abstract":"Este artículo aborda las filmografías de Joaquim Jordà y José Luis Guerin con el objetivo, por un lado, de identificar sus rasgos y estrategias creativas esenciales, y por otro, de analizar su influencia en la no ficción española del nuevo milenio, que protagoniza uno de los capítulos más interesantes de nuestra cinematografía reciente. Tras una profunda revisión bibliográfica y el uso del análisis textual fílmico como metodología principal, se han extraído una serie de estilemas y temas fundamentales que determinan la obra de Jordà y Guerin, entre los que destacan la hibridación genérica, la mezcla de formatos y recursos, la puesta en situación, la naturaleza autobiográfica, la polifonía de voces, la intermedialidad, el carácter biopolítico o el uso creativo del sonido. Posteriormente, se han rastreado estos principios de forma exploratoria en un conjunto de trabajos firmados por Isaki Lacuesta, Mercedes Álvarez, Carla Subirana y otros jóvenes cineastas asiduos de ese espacio limítrofe y tan fecundo entre la ficción y la realidad, que ha generado desde el cambio de siglo una estimulante producción audiovisual, además de una intensa y prolífica reflexión teórica.","PeriodicalId":40899,"journal":{"name":"Fotocinema-Revista Cientifica de Cine y Fotografia","volume":"28 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2021-07-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81034925","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-01-31DOI: 10.24310/FOTOCINEMA.2021.VI22.11779
Sebastián Alberto Longhi Heredia, Aurora Forteza Martínez
In recent years, the genre of historical fiction has seen notable growth in Spanish television. With Isabel (2012-2014), Victor Ros (2015-2016) and El Ministerio del Tiempo (2015-2020), Javier Olivares manages to give life to a unique universe, managing to invade viewers’ screens with historical characters linked to Spanish cultural heritage. Olivares, one of the most important producers and scriptwriters of Spanish fiction today, talks about the logic behind the production of fictional and historical series in this interview. Issues related to the (re) production and (re) creation of emblematic figures in the art and history of Spain, their aesthetic construction process, their degree of scope and thier impact on society, as well as the producer’s upcoming projects.
近年来，历史小说这一类型在西班牙电视上有了显著的发展。哈维尔·奥利瓦雷斯与伊莎贝尔（2012-2014）、维克托·罗斯（2015-2016）和El Ministerio del Tiempo（2015-2020）合作，成功地赋予了一个独特的宇宙生命，成功地用与西班牙文化遗产有关的历史人物侵入观众的屏幕。奥利瓦雷斯是当今西班牙小说最重要的制片人和编剧之一，他在本次采访中谈到了虚构和历史系列制作背后的逻辑。与西班牙艺术和历史中象征性人物的（重新）制作和（重新）创作有关的问题，他们的美学构建过程，他们的范围和对社会的影响程度，以及制片人即将推出的项目。
{"title":"Cuando la historia y el patrimonio invaden la pantalla. Diálogo con Javier Olivares","authors":"Sebastián Alberto Longhi Heredia, Aurora Forteza Martínez","doi":"10.24310/FOTOCINEMA.2021.VI22.11779","DOIUrl":"https://doi.org/10.24310/FOTOCINEMA.2021.VI22.11779","url":null,"abstract":"In recent years, the genre of historical fiction has seen notable growth in Spanish television. With Isabel (2012-2014), Victor Ros (2015-2016) and El Ministerio del Tiempo (2015-2020), Javier Olivares manages to give life to a unique universe, managing to invade viewers’ screens with historical characters linked to Spanish cultural heritage. Olivares, one of the most important producers and scriptwriters of Spanish fiction today, talks about the logic behind the production of fictional and historical series in this interview. Issues related to the (re) production and (re) creation of emblematic figures in the art and history of Spain, their aesthetic construction process, their degree of scope and thier impact on society, as well as the producer’s upcoming projects.","PeriodicalId":40899,"journal":{"name":"Fotocinema-Revista Cientifica de Cine y Fotografia","volume":"1 1","pages":"498-512"},"PeriodicalIF":0.1,"publicationDate":"2021-01-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43230065","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-01-30DOI: 10.24310/FOTOCINEMA.2021.VI22.11743
Esther Pérez Nieto
Review of the book by Norberto Minguez (ed.) (2019). Itinerarios y formas del ensayo audiovisual. With texts from Josep M. Catala, Paul Julian Smith, Isleny Cruz Carvajal, Gonzalo Navajas, Lourdes Monterrubio Ibanez, Luis Deltell Escolar, Norberto Minguez, Maria Canas, Samuel Alarcon, Mercedes Alvarez, Guillermo Peydro, Victor Moreno y Terrorismo de Autor.
{"title":"Reseña del libro de Norberto Mínguez (ed.) (2019). Itinerarios y formas del ensayo audiovisual.","authors":"Esther Pérez Nieto","doi":"10.24310/FOTOCINEMA.2021.VI22.11743","DOIUrl":"https://doi.org/10.24310/FOTOCINEMA.2021.VI22.11743","url":null,"abstract":"Review of the book by Norberto Minguez (ed.) (2019). Itinerarios y formas del ensayo audiovisual. \u0000With texts from Josep M. Catala, Paul Julian Smith, Isleny Cruz Carvajal, Gonzalo Navajas, Lourdes Monterrubio Ibanez, Luis Deltell Escolar, Norberto Minguez, Maria Canas, Samuel Alarcon, Mercedes Alvarez, Guillermo Peydro, Victor Moreno y Terrorismo de Autor.","PeriodicalId":40899,"journal":{"name":"Fotocinema-Revista Cientifica de Cine y Fotografia","volume":"1 1","pages":"479-481"},"PeriodicalIF":0.1,"publicationDate":"2021-01-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42589401","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-01-30DOI: 10.24310/FOTOCINEMA.2021.VI22.11746
J. Sánchez-Rodríguez
Reseña del libro de Manuel Blanco Pérez. (2020). Nuevo cine andaluz.
曼努埃尔·布兰科·佩雷斯的书回顾。（2020年）。新安达卢西亚电影。
{"title":"Reseña del libro de Manuel Blanco Pérez. (2020). Nuevo cine andaluz.","authors":"J. Sánchez-Rodríguez","doi":"10.24310/FOTOCINEMA.2021.VI22.11746","DOIUrl":"https://doi.org/10.24310/FOTOCINEMA.2021.VI22.11746","url":null,"abstract":"Reseña del libro de Manuel Blanco Pérez. (2020). Nuevo cine andaluz.","PeriodicalId":40899,"journal":{"name":"Fotocinema-Revista Cientifica de Cine y Fotografia","volume":"1 1","pages":"490-492"},"PeriodicalIF":0.1,"publicationDate":"2021-01-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44891646","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-01-30DOI: 10.24310/FOTOCINEMA.2021.VI22.11747
Laura Calvo Gens
Reseña del libro de Pacôme Thiellement (2020). Tres ensayos sobre Twin Peaks.
Pacôme Thiellement的书评（2020年）。关于双峰的三篇文章。
{"title":"Reseña del libro de Pacôme Thiellement (2020). Tres ensayos sobre Twin Peaks.","authors":"Laura Calvo Gens","doi":"10.24310/FOTOCINEMA.2021.VI22.11747","DOIUrl":"https://doi.org/10.24310/FOTOCINEMA.2021.VI22.11747","url":null,"abstract":"Reseña del libro de Pacôme Thiellement (2020). Tres ensayos sobre Twin Peaks.","PeriodicalId":40899,"journal":{"name":"Fotocinema-Revista Cientifica de Cine y Fotografia","volume":"1 1","pages":"493-497"},"PeriodicalIF":0.1,"publicationDate":"2021-01-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46343671","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-01-30DOI: 10.24310/FOTOCINEMA.2021.VI22.11742
Julia Martínez Cano
Review of the book by Filomena Serra, Paula Andre y Sofia Leal Rodrigues (2020). Projectos editoriais e Propaganda. Imagens e Contra-Imagens no Estado Novo.
Filomena Serra，Paula Andre y Sofia Leal Rodrigues的书评（2020）。编辑项目和广告。新州的图像和Contra图像。
{"title":"Reseña del libro de Filomena Serra, Paula André y Sofia Leal Rodrigues (2020). Projectos editoriais e Propaganda. Imagens e Contra-Imagens no Estado Novo","authors":"Julia Martínez Cano","doi":"10.24310/FOTOCINEMA.2021.VI22.11742","DOIUrl":"https://doi.org/10.24310/FOTOCINEMA.2021.VI22.11742","url":null,"abstract":"Review of the book by Filomena Serra, Paula Andre y Sofia Leal Rodrigues (2020). Projectos editoriais e Propaganda. Imagens e Contra-Imagens no Estado Novo.","PeriodicalId":40899,"journal":{"name":"Fotocinema-Revista Cientifica de Cine y Fotografia","volume":"1 1","pages":"474-478"},"PeriodicalIF":0.1,"publicationDate":"2021-01-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41336634","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-01-30DOI: 10.24310/FOTOCINEMA.2021.VI22.11744
Ivana Belén Ruiz Estramil
Review of the book by Ricard Carbonell i Sauri (2019). La mirada prohibida. El plano subjetivo en el cine.
里卡德·卡博内尔一世·索里（Ricard Carbonell I Sauri）对这本书的评论（2019年）。被禁止的目光。电影中的主观平面。
{"title":"Reseña del libro de Ricard Carbonell i Saurí (2019). La mirada prohibida. El plano subjetivo en el cine.","authors":"Ivana Belén Ruiz Estramil","doi":"10.24310/FOTOCINEMA.2021.VI22.11744","DOIUrl":"https://doi.org/10.24310/FOTOCINEMA.2021.VI22.11744","url":null,"abstract":"Review of the book by Ricard Carbonell i Sauri (2019). La mirada prohibida. El plano subjetivo en el cine.","PeriodicalId":40899,"journal":{"name":"Fotocinema-Revista Cientifica de Cine y Fotografia","volume":"1 1","pages":"482-485"},"PeriodicalIF":0.1,"publicationDate":"2021-01-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45253578","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-01-30DOI: 10.24310/FOTOCINEMA.2021.VI22.11745
David Blanco-Herrero
Review of the book by Maria Marcos Ramos (ed.) (2020). A ambos lados del Atlantico: peliculas espanolas y brasilenas premiadas.
玛丽亚·马科斯·拉莫斯（编辑）对这本书的审查（2020年）。大西洋两岸：获奖的西班牙和巴西电影。
{"title":"Reseña del libro de María Marcos Ramos (ed.) (2020). A ambos lados del Atlántico: películas españolas y brasileñas premiadas.","authors":"David Blanco-Herrero","doi":"10.24310/FOTOCINEMA.2021.VI22.11745","DOIUrl":"https://doi.org/10.24310/FOTOCINEMA.2021.VI22.11745","url":null,"abstract":"Review of the book by Maria Marcos Ramos (ed.) (2020). A ambos lados del Atlantico: peliculas espanolas y brasilenas premiadas.","PeriodicalId":40899,"journal":{"name":"Fotocinema-Revista Cientifica de Cine y Fotografia","volume":"1 1","pages":"486-489"},"PeriodicalIF":0.1,"publicationDate":"2021-01-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44616492","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-01-29DOI: 10.24310/FOTOCINEMA.2021.VI22.11738
Joan-Francesc Fondevila-Gascón, Pedro Mir-Bernal, A. Barrientos-Báez, Marc Perelló-Sobrepere
This paper aims to analyze the activity of the three biggest movie studios in social media, 20h Century Fox, Warner Bros and Universal Studios, and how that is affecting in the numbers and importance of each. Through deep searches, professional advice and the use of some statistic programs, we were able to pull out some interesting assumptions that will be discussed. We have focused in different parts of each Social Media since, we think, each one is designed to fulfill one specific aspect, for example create discussions or just present a piece of work or trailer in our case. With that approach we expect to determine which of the companies has understood better the way they have to be used and if they had won any kind of advantage through the good use of this medias presented as more interaction between themselves and the viewers and a more effective way to present their products. We conclude a correlation between movie studios impact and social media in terms of posts and comments. YouTube is the main social media for movie studios companies.
{"title":"Cinematic blueprint on Social Media: A comparative analysis","authors":"Joan-Francesc Fondevila-Gascón, Pedro Mir-Bernal, A. Barrientos-Báez, Marc Perelló-Sobrepere","doi":"10.24310/FOTOCINEMA.2021.VI22.11738","DOIUrl":"https://doi.org/10.24310/FOTOCINEMA.2021.VI22.11738","url":null,"abstract":"This paper aims to analyze the activity of the three biggest movie studios in social media, 20h Century Fox, Warner Bros and Universal Studios, and how that is affecting in the numbers and importance of each. Through deep searches, professional advice and the use of some statistic programs, we were able to pull out some interesting assumptions that will be discussed. We have focused in different parts of each Social Media since, we think, each one is designed to fulfill one specific aspect, for example create discussions or just present a piece of work or trailer in our case. With that approach we expect to determine which of the companies has understood better the way they have to be used and if they had won any kind of advantage through the good use of this medias presented as more interaction between themselves and the viewers and a more effective way to present their products. We conclude a correlation between movie studios impact and social media in terms of posts and comments. YouTube is the main social media for movie studios companies.","PeriodicalId":40899,"journal":{"name":"Fotocinema-Revista Cientifica de Cine y Fotografia","volume":"1 1","pages":"427-445"},"PeriodicalIF":0.1,"publicationDate":"2021-01-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45132605","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-01-29DOI: 10.24310/FOTOCINEMA.2021.VI22.11740
Carlos Rojas-Redondo, Paco Lara-Barranco
The present study addresses the concept of the “image-excess” (Lipovetsky & Serroy, 2009), a cinematographic resource that manages to introduce the viewer into a dizzying succession of hyperspectacular visual scenes. It is from the extraordinary technological evolution of the last decades when digital creations (virtual realities) have generated images in the cinema that come to compete with reality, overlapping it and making its differentiation complex for the receiver. In the text we address the determining role that simulation and game play as they are key drivers for the construction of that image-excess, which is established between virtual parameters of neo-baroque and sublime characteristics. Therefore, we will delve into knowing how the simulation develops itself in the field of cinema, and how the game unfolds its full potential to act in the mind of the viewer with the firm intention of inducing him to a hyper-reality, the meta-reality that cinema supposed. Although some cinematographic productions present the limitation known as uncanny valley by producing a rejection of credibility in the observer, our main conclusion underlines the need for attraction that the excess-image must arouse, so that simulacrum and game make an appearance.
{"title":"Simulacro y juego. La imagen-exceso cinematográfica como reflejo de una sociedad hiperreal","authors":"Carlos Rojas-Redondo, Paco Lara-Barranco","doi":"10.24310/FOTOCINEMA.2021.VI22.11740","DOIUrl":"https://doi.org/10.24310/FOTOCINEMA.2021.VI22.11740","url":null,"abstract":"The present study addresses the concept of the “image-excess” (Lipovetsky & Serroy, 2009), a cinematographic resource that manages to introduce the viewer into a dizzying succession of hyperspectacular visual scenes. It is from the extraordinary technological evolution of the last decades when digital creations (virtual realities) have generated images in the cinema that come to compete with reality, overlapping it and making its differentiation complex for the receiver. In the text we address the determining role that simulation and game play as they are key drivers for the construction of that image-excess, which is established between virtual parameters of neo-baroque and sublime characteristics. Therefore, we will delve into knowing how the simulation develops itself in the field of cinema, and how the game unfolds its full potential to act in the mind of the viewer with the firm intention of inducing him to a hyper-reality, the meta-reality that cinema supposed. Although some cinematographic productions present the limitation known as uncanny valley by producing a rejection of credibility in the observer, our main conclusion underlines the need for attraction that the excess-image must arouse, so that simulacrum and game make an appearance.","PeriodicalId":40899,"journal":{"name":"Fotocinema-Revista Cientifica de Cine y Fotografia","volume":"1 1","pages":"447-473"},"PeriodicalIF":0.1,"publicationDate":"2021-01-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45825647","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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