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The visual poetry in the film criticism of Ángel Fernández-Santos
dc.creator | Planes Pedreño J.A. | spa |
dc.creator | Pérez Díaz P.L. | spa |
dc.date.accessioned | 2017-12-19T19:36:50Z | |
dc.date.available | 2017-12-19T19:36:50Z | |
dc.date.created | 2015 | |
dc.identifier.issn | 2140039 | |
dc.identifier.uri | http://hdl.handle.net/11407/4363 | |
dc.description.abstract | Very often, it isZunzunegui, S. (1996ntify these principles. It is a term that, within his evaluative arguments, constitutes one out of three great stylistic strategies which, due to their difficulty and complexity when applied in the filmmaking, the critic tends to associate with the highest levels of the aesthetic quality. The other two strategies are the ‘transparency/depth dichotomy’ and the ‘expressive paradoxes’. In this paper, we focus on the film aesthetic patterns of Ángel Fernández-Santos in order to extract from his reviews only the definition, features and typologies of the visual poetry concept where it is clearly used. Those writings come from his journalist career in the newspaper El País (1982-2004), and they are devoted to analyse a range of audiovisual productions of different periods and styles; but before that, we will make reference to the origins and the application of the visual poetry concept in the legacy of the film theory and criticism with the aim of highlighting the influences that, (in this field) determine the aesthetic scope in the film reviews of Fernández-Santos. © 2015 Communication & Society. | eng |
dc.language.iso | eng | |
dc.publisher | Universidad de Navarra | spa |
dc.relation.isversionof | https://www.scopus.com/inward/record.uri?eid=2-s2.0-84950106323&doi=10.15581%2f003.28.4.125-141&partnerID=40&md5=66e8c1b6d418b80a32c46d5e17385c39 | spa |
dc.source | Scopus | spa |
dc.title | The visual poetry in the film criticism of Ángel Fernández-Santos | spa |
dc.type | Article | eng |
dc.rights.accessrights | info:eu-repo/semantics/restrictedAccess | |
dc.contributor.affiliation | Planes Pedreño, J.A., Universidad de Medellín, Colombia; Pérez Díaz, P.L., Catholic University of San Antonio, Murcia, Spain | spa |
dc.identifier.doi | 10.15581/003.28.4.125-141 | |
dc.subject.keyword | Film aesthetics | eng |
dc.subject.keyword | Film criticism | eng |
dc.subject.keyword | Film poetry | eng |
dc.subject.keyword | Film theory | eng |
dc.subject.keyword | Visual poetry | eng |
dc.publisher.faculty | Facultad de Comunicación | spa |
dc.abstract | Very often, it isZunzunegui, S. (1996ntify these principles. It is a term that, within his evaluative arguments, constitutes one out of three great stylistic strategies which, due to their difficulty and complexity when applied in the filmmaking, the critic tends to associate with the highest levels of the aesthetic quality. The other two strategies are the ‘transparency/depth dichotomy’ and the ‘expressive paradoxes’. In this paper, we focus on the film aesthetic patterns of Ángel Fernández-Santos in order to extract from his reviews only the definition, features and typologies of the visual poetry concept where it is clearly used. Those writings come from his journalist career in the newspaper El País (1982-2004), and they are devoted to analyse a range of audiovisual productions of different periods and styles; but before that, we will make reference to the origins and the application of the visual poetry concept in the legacy of the film theory and criticism with the aim of highlighting the influences that, (in this field) determine the aesthetic scope in the film reviews of Fernández-Santos. © 2015 Communication & Society. | eng |
dc.creator.affiliation | Universidad de Medellín, Colombia; Catholic University of San Antonio, Murcia, Spain | spa |
dc.relation.ispartofes | Communication and Society | spa |
dc.relation.references | Cantavella, J., La crítica: Juicios sobre obras artísticas para orientación del lector (2007) Redacción para periodistas: Opinar y argumentar, pp. 217-240. , Cantavella, J. & Serrano, J.F. (Eds.), Madrid: Universitas | spa |
dc.relation.references | Heredero, C.F., Introducción. In Á. Fernández-Santos (2007) La mirada encendida, pp. 21-36. , Madrid: Fundamentos | spa |
dc.relation.references | Navarro, A.J., Contra la «crítica». A favor del ensayo fílmico (2010) Dirigido por, 400, pp. 60-63. , (May) | spa |
dc.relation.references | Pasolini, P.P., Cine de poesía (1970) Cine de poesía contra cine de prosa, pp. 9-41. , Pasolini, P.P. y Rohmer E., Barcelona: Anagrama | spa |
dc.relation.references | Quintana, À., (2011) Del trascendentalismo al mesianismo neocon. Cahiers du Cinéma España, 48, pp. 9-11. , (September) | spa |
dc.relation.references | Rohmer, E., Entrevista con Eric Rohmer: Lo antiguo y lo nuevo (1970) Cine de poesía contra cine de prosa, pp. 42-80. , Pasolini, P.P. y Rohmer E., Barcelona: Anagrama | spa |
dc.relation.references | Torrell, J., De la crítica (2010) El viejo Topo, 264, pp. 62-69. , (Enero) | spa |
dc.type.version | info:eu-repo/semantics/publishedVersion | |
dc.type.driver | info:eu-repo/semantics/article | |
dc.identifier.reponame | reponame:Repositorio Institucional Universidad de Medellín | spa |
dc.identifier.instname | instname:Universidad de Medellín | spa |
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