5 research outputs found
Television Serrana : an effective experience of media sustainability from the mountains of eastern Cuba
Trascending da-sein. breaks and continuities in the filmography of Ariagna Fajardo
Ariagna Fajardo´s films has been responsible in a great way of the approach of TV Serrana to an anthropological visual discourse. This filmmaker has synthetized the aspiration of the institution of collecting the Da sein of reality in the mountains and added to the practice the ontological Project that compromises her. Such phenomenological stands allows her, through the representation of everyday life –existentia– to raise the question that interrogates for being, trespassing what is in front of our eyes and discover in the process the essentia behind the fact. Since her entrance in the contemporary audiovisual landscape, Fajardo films has matured. This research pretends a review of her most important films with the intention of proving the abilities of cinematic technique, and at the same time revealing the sharpness of this filmmaker in contrasting discourses of diverse origin
La construcci\uf3n de la imagen local en el documental producido en el oriente de Cuba (1986-2016)
Los modos del cine documental. Análisis de tres modelos
The present work is a theoretical study that compares the modes of documentary representation provided by Bill Nichols, Michael Renov, and John Corner. Such paradigms correspond to the increase of documentary studies from the beginnings of nineties of 20th century. They have become prominent guides for the reinterpretation of aesthetics and history of documentary film. The critical revision proposed here includes the analysis of specific examples of Cuban documentary films produced by Cuban Institute of Art and Cinematic Industry (ICAIC) between 1959 and 1991. The three models followed identify different theoretical backgrounds over which project the image of documentary, for that reason, this study argues for the triangulation of the categories in the exam of significant volumes of documentaries.El presente trabajo es un estudio teórico que compara los modos de representación documental proporcionados por Bill Nichols, Michael Renov y John Corner. Estos paradigmas corresponden al auge de los estudios sobre el documental de inicios de los años noventa del siglo veinte y han devenido matrices prominentes a partir de las cuales se reinterpreta la estética fílmica y la historia del documental. La revisión crítica que se propone aquí incluye el análisis de algunos ejemplos puntuales del cine documental cubano producidos por el Instituto Cubano de Arte e Industria Cinematográficos (ICAIC) entre 1959 y 1991. Los tres modelos clasificatorios que se siguen identifican fondos teóricos diferentes sobre el que proyectan la imagen del documental, por esa razón, este estudio defiende la triangulación de sus cuerpos categoriales ante el examen de volúmenes significativos de documentales.