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dc.creatorPlanes Pedreño J.A.spa
dc.creatorPérez Díaz P.L.spa
dc.date.accessioned2017-12-19T19:36:50Z
dc.date.available2017-12-19T19:36:50Z
dc.date.created2015
dc.identifier.issn2140039
dc.identifier.urihttp://hdl.handle.net/11407/4363
dc.description.abstractVery 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.isoeng
dc.publisherUniversidad de Navarraspa
dc.relation.isversionofhttps://www.scopus.com/inward/record.uri?eid=2-s2.0-84950106323&doi=10.15581%2f003.28.4.125-141&partnerID=40&md5=66e8c1b6d418b80a32c46d5e17385c39spa
dc.sourceScopusspa
dc.titleThe visual poetry in the film criticism of Ángel Fernández-Santosspa
dc.typeArticleeng
dc.rights.accessrightsinfo:eu-repo/semantics/restrictedAccess
dc.contributor.affiliationPlanes Pedreño, J.A., Universidad de Medellín, Colombia; Pérez Díaz, P.L., Catholic University of San Antonio, Murcia, Spainspa
dc.identifier.doi10.15581/003.28.4.125-141
dc.subject.keywordFilm aestheticseng
dc.subject.keywordFilm criticismeng
dc.subject.keywordFilm poetryeng
dc.subject.keywordFilm theoryeng
dc.subject.keywordVisual poetryeng
dc.publisher.facultyFacultad de Comunicaciónspa
dc.abstractVery 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.affiliationUniversidad de Medellín, Colombia; Catholic University of San Antonio, Murcia, Spainspa
dc.relation.ispartofesCommunication and Societyspa
dc.relation.referencesCantavella, 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: Universitasspa
dc.relation.referencesHeredero, C.F., Introducción. In Á. Fernández-Santos (2007) La mirada encendida, pp. 21-36. , Madrid: Fundamentosspa
dc.relation.referencesNavarro, A.J., Contra la «crítica». A favor del ensayo fílmico (2010) Dirigido por, 400, pp. 60-63. , (May)spa
dc.relation.referencesPasolini, P.P., Cine de poesía (1970) Cine de poesía contra cine de prosa, pp. 9-41. , Pasolini, P.P. y Rohmer E., Barcelona: Anagramaspa
dc.relation.referencesQuintana, À., (2011) Del trascendentalismo al mesianismo neocon. Cahiers du Cinéma España, 48, pp. 9-11. , (September)spa
dc.relation.referencesRohmer, 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: Anagramaspa
dc.relation.referencesTorrell, J., De la crítica (2010) El viejo Topo, 264, pp. 62-69. , (Enero)spa
dc.type.versioninfo:eu-repo/semantics/publishedVersion
dc.type.driverinfo:eu-repo/semantics/article
dc.identifier.reponamereponame:Repositorio Institucional Universidad de Medellínspa
dc.identifier.instnameinstname:Universidad de Medellínspa


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