The visible presence of the camera in the Latin American documentary
Starting with A Man with a Movie Camera (Vertov, 1929), the visible presence of the camera within the film, points to the self-reflexive irruption of the cinematographic device. In Vertov's film, this presence signals a reflection at the same time technical, aesthetic and political on the condi...
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Universidad Diego Portales
2019
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oai:ojs.revista180.cl:article-5692019-08-16T15:47:52Z The visible presence of the camera in the Latin American documentary Presencia visible de la cámara en el documental latinoamericano de los Ríos, Valeria Eduardo Coutinho; Ignacio Agüero; Latin American documentary; self-reflexive documentary; Luis Ospina; Patricio Guzmán Cine, cine y arte, documental documental autorreflexivo; documental latinoamericano; Eduardo Coutinho; Ignacio Agüero; Luis Ospina; Patricio Guzmán Starting with A Man with a Movie Camera (Vertov, 1929), the visible presence of the camera within the film, points to the self-reflexive irruption of the cinematographic device. In Vertov's film, this presence signals a reflection at the same time technical, aesthetic and political on the conditions of production in a post-revolutionary context. This article analyzes the presence of the camera in some Latin American documentaries in which the figuration of the filmic device becomes visible and where this presence fulfills a fundamental role at a formal and narrative level. Specifically, this article will refer to a newsreel, La batalla de Chile by Patricio Guzmán, Agarrando pueblo (1977) by Luis Ospina and Carlos Mayolo, Cabra marcado para morrer (1984) by Eduardo Coutinho and the series Como me la gana by Ignacio Agüero which has a version in 1985 and another one in 2016. Ya desde El hombre de la cámara (Vertov, 1929) la presencia visible de la cámara al interior del registro fílmico señala la irrupción autorreflexiva del dispositivo cinematográfico. En la película de Vertov, esta presencia constituye una reflexión a la vez técnica, estética y política acerca de las condiciones de producción en un contexto posrrevolucionario. En este artículo se analizará la presencia de la cámara en algunos documentales latinoamericanos en los que la figuración del dispositivo fílmico se hace visible y en donde esta presencia cumple un rol fundamental a nivel formal y narrativo. Específicamente este artículo se referirá a un noticiero, a La batalla de Chile de Patricio Guzmán, Agarrando pueblo (1977) de Luis Ospina y Carlos Mayolo, a Cabra marcado para morrer (1984) de Eduardo Coutinho y a la serie Como me da la gana de Ignacio Agüero que tuvo una versión en 1985 y otra en 2016. Universidad Diego Portales Fondecyt 2019-08-16 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion application/pdf https://www.revista180.udp.cl/index.php/revista180/article/view/569 10.32995/rev180.Num-43.(2019).art-569 Revista 180; Núm. 43 (2019) Revista 180; Núm. 43 (2019) 0718-669X 0718-2309 spa https://www.revista180.udp.cl/index.php/revista180/article/view/569/417 https://www.revista180.udp.cl/index.php/revista180/article/downloadSuppFile/569/859 https://www.revista180.udp.cl/index.php/revista180/article/downloadSuppFile/569/886 https://www.revista180.udp.cl/index.php/revista180/article/downloadSuppFile/569/887 https://www.revista180.udp.cl/index.php/revista180/article/downloadSuppFile/569/888 https://www.revista180.udp.cl/index.php/revista180/article/downloadSuppFile/569/889 https://www.revista180.udp.cl/index.php/revista180/article/downloadSuppFile/569/890 https://www.revista180.udp.cl/index.php/revista180/article/downloadSuppFile/569/891 Copyright (c) 2019 Revista 180 https://creativecommons.org/licenses/by/4.0 |
| institution |
Universidad Diego Portales |
| collection |
OJS |
| language |
spa |
| format |
Online |
| author |
de los Ríos, Valeria |
| spellingShingle |
de los Ríos, Valeria The visible presence of the camera in the Latin American documentary |
| author_facet |
de los Ríos, Valeria |
| author_sort |
de los Ríos, Valeria |
| title |
The visible presence of the camera in the Latin American documentary |
| title_short |
The visible presence of the camera in the Latin American documentary |
| title_full |
The visible presence of the camera in the Latin American documentary |
| title_fullStr |
The visible presence of the camera in the Latin American documentary |
| title_full_unstemmed |
The visible presence of the camera in the Latin American documentary |
| title_sort |
visible presence of the camera in the latin american documentary |
| description |
Starting with A Man with a Movie Camera (Vertov, 1929), the visible presence of the camera within the film, points to the self-reflexive irruption of the cinematographic device. In Vertov's film, this presence signals a reflection at the same time technical, aesthetic and political on the conditions of production in a post-revolutionary context. This article analyzes the presence of the camera in some Latin American documentaries in which the figuration of the filmic device becomes visible and where this presence fulfills a fundamental role at a formal and narrative level. Specifically, this article will refer to a newsreel, La batalla de Chile by Patricio Guzmán, Agarrando pueblo (1977) by Luis Ospina and Carlos Mayolo, Cabra marcado para morrer (1984) by Eduardo Coutinho and the series Como me la gana by Ignacio Agüero which has a version in 1985 and another one in 2016. |
| publisher |
Universidad Diego Portales |
| publishDate |
2019 |
| url |
https://www.revista180.udp.cl/index.php/revista180/article/view/569 |
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