Los modos del cine documental. Análisis de tres modelos

IF 0.3 0 PHILOSOPHY

Aisthesis-Pratiche Linguaggi e Saperi dell Estetico Pub Date : 2020-08-21 DOI:10.7764/67.4

Carlos Guillermo Lloga Sanz

引用次数: 1

Abstract

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.

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纪录片的模式。三种模型分析

本文是一项比较Bill Nichols、Michael Renov和John Corner的文献表现模式的理论研究。这种范式与20世纪90年代初以来文献研究的兴起相对应。他们已经成为重新诠释纪录片美学和历史的重要指南。这里提出的重要修订包括对古巴艺术和电影工业协会(古巴电影工业协会)在1959年至1991年期间制作的古巴记录片的具体例子进行分析。接下来的三个模型确定了纪录片形象的不同理论背景，因此，本研究主张在大量纪录片的考试中对类别进行三角测量。

本文章由计算机程序翻译，如有差异，请以英文原文为准。

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来源期刊

Aisthesis-Pratiche Linguaggi e Saperi dell Estetico PHILOSOPHY-

CiteScore

0.30

自引率

0.00%

发文量

审稿时长

40 weeks

期刊介绍： The choice of the name of the journal represents a farewell from the identification of aesthetics with hermeneutics and speculative philosophy of art. It also shows our strong commitment to the irreducibility of aesthetics to a mere psychological fact. The subtitle of the journal “practices, languages and knowledge concerning aesthetics” indicates the present, fertile pluralism of aesthetics. This is a pluralism of views and methods, often connected with the different ways in which contemporary arts and aesthetic abilities present and structure themselves. Also, it is a pluralism of thoughts and formulas, which induces to relativize the western tradition within which the discipline of aesthetics was born. Finally, it is a pluralism of epistemic landscapes, which also trespasses into the sphere of sensibility and art. These various, epistemic landscapes have recently experienced a revolutionary enlargement through the rise of some new or radically renewed disciplines (from neurosciences to anthropology, from cognitive sciences to psychobiology). Indeed, we conceive Aisthesis as a public space where those different approaches and disciplines can interact.