![]() ![]() Aproximaciones a lo real en el cine de Everardo Gonzá-lez Palabras clave Documental migración catástrofe cine con-templativo sequía. Esta cinta sintetiza mucho del trabajo de su director, por ello, este artículo analiza los mecanismos discursivos de la película, para po-ner en cuadro las condiciones de vida de esta comunidad, y para proponer una visión política del asunto, pero plantea el análisis del cuerpo completo de la labor del cineasta del que este filme se puede considerar como un resumen de sus búsquedas retóricas. Se vale de un estilo contemplativo y estático que atestigua la desgracia y la resig-nación. Al registrar las condiciones de vida, Everardo González hace la crónica de una catástrofe anticipada pero in-eludible. Cada año reúnen sus cosas y dejan el pueblo esperan-do las lluvias para volver. El desastre natural acarrea otros: la pobreza, la enfermedad y la migración. Es el nombre de un ejido en el norte de México, donde las familias del lugar enfrentan cíclicamente el rigor del estío y sólo resisten por una tradición difusa, cuyas raíces se pier-den en el tiempo. Resumen Cuates de Australia es la crónica de una catás-trofe. Likewise, it raises the analysis of the complete body of the work by the filmmaker, from which this movie can be considered as a synthesis of his rhetorical searches. This work analyzes the discursive mechanisms of the film to put into context the conditions of life of this community, and to propose a political vision of the subject. It uses a contemplative and static style that testifies to misfortune and resignation. While recording the conditions of life, Everardo Gonzalez chronicles an anticipated but inevitable catastrophe. ![]() Every year they gather their things and leave the village waiting for the rains to return. The natural disaster causes others: poverty, disease and migration. It is the name of a ranch in the north of Mexico, where the families of the place cyclically face the rigor of the summer and only resist by a diffuse tradition, whose roots are lost in time. narrative-based editing.Ĭuates de Australia is the chronicle of a catastrophe. This paper will also look at how montage in Gutiérrez Alea's films achieves a unique form of communication built on dialectical contrast through a calculated disposition of camera shots, spatial arrangements, and mise-en-scène that makes critical montage more than just the outcome of concept vs. My analyses of these films' cinematography are informed by Sergei Eisenstein's ideas on the dialectical dimensions of montage (summarized in the term "critical montage") and Michael Betancourt's approach about spatial montage. I will demonstrate how the cinematic language of montage is able to illustrate the subjective disjointedness and fragmentation caused by internal exile. This paper will look first at how Gutiérrez Alea uses critical montage to illustrate the phenomenon of Cuban insilio in two different periods in Cuban revolutionary history. In this paper I would like to expand the discussion of insilio from literature to cinema through an analysis of Tomás Gutiérrez Alea's most influential films, Memorias del subdesarrollo (1968) and Fresa y Chocolate (1994). *An event within the framework of Kleiner Freitag: Every Thursday, starting at 7 PM, varied events take place at different locations in and around the Dortmunder U.In the long history of political banishment in Latin America there is a counterpart to the category of "exile" that needs more attention: the individual that is excluded, or marked as an "undesirable" by an authoritarian regime for ideological reasons, yet remains inside the country in a condition of reduced citizenship that mirrors that of the political exile. ![]() The film shows preserved memories and experiences that, as archived moments, can help us understand history. After three years of researching, Ran Tal merges the photographs with private film footage, illuminating both the history of a country and a life. Ran Tal's (*1963) film about the award-winning Israeli photographer and journalist Micha Bar-Am (*1930 in Berlin) takes a look at a unique photographic archive: half a million prints, contact sheets and negatives from 60 years. The documentary 1341 Pictures of War and Love celebrated its world premiere at the Berlinale this year. Language: Hebrew and German, Subtitles: English 7 PM: Guided tour of the exhibition at the Kunstverein, Rheinische Straße 1Ĩ PM: Film screening in the cinema at Dortmunder Uġ341 Images of War and Love, ISR, UK, USA, 2022 (89'), Director: Ran Tal ![]()
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