Portal de Periódicos da CAPES

Del Color Al Sensorama. Cine E Industria Cultural (From Color to Sensorama. Film and Cultural Industry)

2016; RELX Group (Netherlands); Linguagem: Inglês

1556-5068

Simón Puerta Domínguez,

Advertising and Communication Studies

Spanish Abstract: En el presente articulo me propongo senalar como, a partir de las practicas de innovacion tecnologica en el cine (mejoras tecnicas como el sonido, el color, hasta la tercera dimension y sus concreciones actuales), se reduce lo cinematografico al azar administrado, a la falta de reflexion en las decisiones tecnicas respecto a las obras y su contexto, a partir de la disociacion de la relacion entre forma y contenido en la constitucion de la obra y en su caracter dialectico. Asi mismo, propongo tambien una breve reflexion sobre las perspectivas del cine inmerso en esta situacion de mercado, sus posibilidades de autonomia y de generacion de contenidos transgresores del arte estandarizado que prima, todo a partir de los analisis realizados por la Teoria Critica de la Escuela de Frankfurt para la primera mitad del siglo xx. Argumento que, si bien la situacion no es alentadora, y se hace necesaria la problematizacion de la creacion y el consumo de cine, es posible pensar los medios tecnicos actuales para potenciar un arte emancipado. English Abstract: In this article I intend to point out how, from the practices of technological innovation in film (technical improvements such as sound, color, up to the third dimension and its current concretions), the film is reduced to administered randomness, lack of consideration on technical decisions about the work and its context, starting from the dissociation of the relationship between form and content in the constitution of the work and its dialectical character. Likewise, I also propose a brief reflection on the prospects of film, immersed in this market situation, its possibilities of autonomy and generation of content that transgress the prevailing standardized art. All of this, starting from the analysis conducted by Critical Theory from School of Frankfurt for the first half of the twentieth century. I argue that, although the situation is not encouraging, and the questioning of creation and consumption of film is necessary, it is possible to think the current technical means to enhance an emancipated art.)