Sistema Regional de Información
en línea para Revistas Científicas de América Latina,
el Caribe, España y Portugal

The importance of composition in the cinematographic fact as a foundational and fundamental element can be better understood knowing the difference between types of composition. This inheritance of the photographic apparatus shows that the rupture of the institutional composition rises to different compositional options that break with the importance of the center, showing the possibility of enlargement of the image's meaning related to the elements that its creators choose when composing it. This is the case of Pawel Pawlikowski’s Ida (2013), whose cinematography and composition work adds meaning to each one of the images individually and in the whole of the film thanks to the chosen look marked by his photographic referents.With the objective of showing these aspects this article analyses the film with concepts related to figurative, reflexive and aleatory composition. These concepts are reunited in a definition of what's been articulated as deframing.

We intend to trace the pictorial heritage that emerges in the staging of L'Apollonide, Souvenirs of the maison closee (Bertrand Bonello, 2011), whose meaning transcends the mere ambience of the time. Post-impressionist toilettes, symbolist orientalisms and outings to impressionistic landscapes are part of the references of which the film is nourished and, at the same time, metamorphosizes in order to write a story detained in the eternal ending of the nineteenth century, whose laconic tedium and militant artificiality are no obstacle to the ruthless irruption of barbarism. Starting from the identification of intertextualities and the textual analysis of filmic materiality, we propose that L'Apollonide apprehends the aesthetic and the decadent feeling of French art in the twilight of the century to build a story that humanizes —through a contemporary look— the day-to-day life of the prostitutes who work in an elitist brothel about to shutting. The configuration of the mise-en-scène demands the identifiction of certain pictorial referents key in order to rethink, redraw and propose a reverse to the myth of the pictorial femme fatale.

The success of Broadway have been one of the main sources of inspiration for Hollywood. In the 1940s, Tennessee Williams took hegemonic space of Eugene O’Neill, so their powerful themes and characters interested quickly to Hollywood. At the beginning of the 1950s, the strict Hays Code censored some sexual aspects of their successful film adaptations, but the presence of homosexual characters was very novel. Following this trend, Robert Anderson and Lillian Hellman dramas that treated them were adapted in these years. With the aim to influence the impact of characters of this orientation in Hollywood, will be analysed as a person and as a role –according to Francesco Casetti and Federico di Chio-, the protagonists of Tea and Sympathy (1956), Cat on a Hot Tin Roof (1958) and The Children Hour (1961). This work tries to reflect how the characters of Anderson, Williams and Hellman, respectively, contributed to openness theme in Hollywood, the Hays Code breaking and the evolution of the classic melodrama between 1951 and 1961.

El cine, como industria cultural, comienza a desbordar gran parte de su desarrollo en vertientes cada vez más orientadas hacia las ya casi innumerables herramientas tecnológicas y digitales. Términos como VFX o CGI no son si no una generalidad prácticamente utópica desde la que comenzar a estudiar una situación ampliamente heterogénea, así como en amplios momentos exclusiva del cine americano. Elio Quiroga, escritor y director de cine carente de miedo ante la distopía, el avance tecnológico y la imaginación en sus entregas e investigaciones, trata de arrojar un poco de luz sobre los factores y relaciones que acontecen entre la herencia y el hacer del cine más tradicional y las innovaciones más recientes de la industria.

We are witnessing a rapid evolution of digital technology, to the extent that nowadays it is almost impossible for the average spectator to discern between live action and Computer-Generated Imagery. Such a development of its components brings about a theoretical problem: the so-called “death of cinema”. André Bazin’s theory has been constantly revisited because of his hypotheses on the ontology of the photographic image and its cinematographic implications. This paper aims to actualize Bazin’s thought, through the link between film and its materials as well as his arguments regarding cinema as an essentially realist medium. To do so, we’ll do a comparison between the three primary materials used to create pictures: optical images, both analogical and digital, and CGI. My final goal is to explore to what extent hybridization has transformed cinema from a Bazinian point of view.

In the early 1940s, Argentine cinema was going through a process of industrial consolidation and the development of bourgeoisie-themed stories. Popular stars, who had ruled national film in the previous decade, faced the need to reformulate their characters and movies in order to keep their audience. In a scenario where film businessmen were getting rid of them and entertainment magazines criticized them, they looked for ways to insert themselves in this new context. A recurring strategy was self-reflective comedy, through which they dissasembled their implicit contracts with their audience by showing them the inner works of the entertainment industry. In these movies, they made explicit the transformations within the field and the possibilities they presented for popular actors. Stars such as Niní Marshall and Libertad Lamarque made use of this strategies to test alternatives, show their limitations and display the artificiality of film industry’s conventions.

The present essay tries to address the unique formulation of certain thematic features and expressive resources characteristics of the horror films that the film  Sound of Horror (1965), directed by José Antonio Nieves Conde, carries out. To this end, we will chose the textual analysis and discourse as methodological tool, since it will allow us to focus on the particularities of the film. Carried out in a period of his career in which the filmmaker undertakes custom projects to survive financially, the film we will be dealing with is one of the best examples of the solvency of his work as a director and narrator. The elusive physicality of the monstrous threat that puts the lives of the protagonists at risk causes a figurative void that entails the underlining of the formal mechanisms through which the enunciation operates.

Reseña del libro de Carmelo Vega Fotografía en España (1839-2015) historia, tendencias, estéticas. Madrid: Manuales de Arte Cátedra. Reseña de Bernardo Riego Amézaga

Reseña del ibro Sánchez Noriega, José Luis (ed.). (2017). Trayectorias, ciclos y miradas del cine español (1982-1998). Barcelona: Editorial Laertes, 512 pp. Reseña de Luis Deltell

Reseña del libro Comunismo del hombre solo. Un ensayo sobre Aki Kaurismaki. Chile: Catálogo Libros, 132 pp. Reseña de Ivana Peric M. (Universidad de Chile).