No. 1
Guy Maddin. TRAVELLER IN TIME
ROBERTO LOVED
We introduce the concepts of DIY and handyman and craftsman and crafts as see places where transit Maddin, although we know that this move flees good measure of uniformity. DIY accepted include it understood from the term recovery made by Claude Levi-Strauss and collected by, among others, Jacques Aumont to establish a set of categories "Authorial". Use tools heteroclite using them against using both normal and use the finest materials and to the more modest to make films, are among the most striking features proposed Aumont * for this group and we we see only tangentially in Maddin.
More bluntly, we observed its associated Crafts idea to relate film director Sombra Dolorosa. That which is situated midway between the industry (production, distribution, display, ticketing ...) and DIY Home (experimental, almost private use) home to the filmmakers for every production need to find the financial means and specific art materials. Those who may soon become advantages and difficulties encountered, which are able to find their own solutions and cheap and always respond to addressing the real needs leaving out any temporary influences or impositions from outside (sound format and support, casting , etc.) jealous, because, in the design and care of their works. Director involvement in almost all aspects of production becomes a symptom of it, while an obstacle to their adaptation to the machinery of commercial and institutional work marked by rigid hierarchy and the fragmentation of responsibility.
* theories filmmakers, Jacques Aumont, Polity Press, Barcelona, \u200b\u200b2004.
Guy Maddin. TRAVELLER IN TIME
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No. 2
LANDSCAPES FOR THE NEW MILLENNIUM
MICHAEL MANN - DAVID LYNCH - BRIAN DE PALMA
CRISTINA ALVAREZ
If, as Serge Daney said cinema is an art of this recent work of directors like Michael Mann, David Lynch or Brian De Palma can be a benchmark for understanding the mutations in our contemporary world and how, in recent years, these mutations were reversed in the film transformed the landscape.
not a coincidence that an important part of the originality of the latest works of these three directors lie in the experiments have been conducted with different digital systems is that although Michael Mann, David Lynch and Brian De Palma have a personal, nontransferable universe populated by a recurring obsessions have been developing throughout his career from the various stylistic choices made and from different positions that each of them occupies in American industry, it is also true that the act of tracing the history of film to project to the present these worlds converge in many points to provide a multifaceted reflection of the changes experienced by the contemporary world .
LANDSCAPES FOR THE NEW MILLENNIUM
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No. 3
LOOK INSIDE. THE CINESCRITURA OF MARCEL HANOUN
NACHO Cagigas
experimental Assigned to a conception of film language, without sacrificing a humanist vision of great cultural value, Marcel Hanoun (Tunis, 1929) is one of the great classics of contemporary cinema today. Started in the world of cinema in the 50's, has developed an extensive filmography that reaches to the ground cutting edge of digital cinema, always providing a complex and profound gaze that reaches to show the hidden side, intimate and secret of the human soul. True to an ethical and aesthetic that puts a unique cinematic style personal treatment from any kind of economic and social conditioning that prevents self-expression and authentic, filmography Hanoun, bressoniana imprint, has managed to become one of concerning the great European film of all time since its inception, both the meaning of his images, such as claim a word and the office of the director as a craft fitted with a significance level similar to that of writing, an approach that he has named the cinescritura. It has also developed over the years, research on the film image can be considered one of the most lucid reflections that have occurred both visual and philosophical.
THE INTERIOR LOOK OF MARCEL HANOUN CINESCRITURA
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