Publication: La influencia del fotomontaje
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2003
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Abstract
La revista literaria “Litoral”, creada en 1926, dedicó su número anual de 2003 a “La Poesía en el cine”. Mi aportación trató sobre la incorporación por parte de los cineastas de los avances expresivos de los artistas creadores de fotomontajes, especialmente dadaístas y constructivistas. Esta nueva dimensión poética que incorporaron al cine mudo Mélies, Epstein, Lang y Eisenstein, sería retomada en el cine sonoro por Whale, Welles, Hitchcock y Von Trier; hasta que la tecnología electrónica fuera aprovechada por Rybzinsky, Zemeckis y Spielberg para abrir una nueva dimensión visual al cine.
he literary magazine “Litoral”, created in 1926, dedicated its annual number of 2003 to "Poetry in the cinema". My contribution concerned the incorporation by the filmmakers of the expressive advances of the artists creators of Photomontages, especially Dadaists and constructivist. This new poetic dimension was incorporated in silent cinema by Mélies, Epstein, Lang and Eisenstein; being retaken in the sound cinema by Whale, Welles, Hitchcock and Von Trier; until the new electronic technology was exploited by Rybzinsky, Zemeckis and Spielberg to open a new visual dimension of films.
he literary magazine “Litoral”, created in 1926, dedicated its annual number of 2003 to "Poetry in the cinema". My contribution concerned the incorporation by the filmmakers of the expressive advances of the artists creators of Photomontages, especially Dadaists and constructivist. This new poetic dimension was incorporated in silent cinema by Mélies, Epstein, Lang and Eisenstein; being retaken in the sound cinema by Whale, Welles, Hitchcock and Von Trier; until the new electronic technology was exploited by Rybzinsky, Zemeckis and Spielberg to open a new visual dimension of films.