The return of the hybrid theater from the Brazilian directors

Descripción del Articulo

With a historical and artistic analysis, the article argues the return of a style of cinematographic production that marked the principle of the art, when still did not consider with clarity the sorts fiction and set of documents as different. The research rescues since the first productions with th...

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Detalles Bibliográficos
Autor: Porto, Denis
Formato: artículo
Fecha de Publicación:2022
Institución:Universidad de Piura
Repositorio:Revista de Comunicación
Lenguaje:español
OAI Identifier:oai:revistas.udep.edu.pe:article/2834
Enlace del recurso:https://revistadecomunicacion.com/article/view/2834
Nivel de acceso:acceso abierto
Materia:Cine
documental
comunicación
Film
documentary
communication
Brazilian new cinemabuilding societies
feeling pain
dying along others
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network_name_str Revista de Comunicación
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spelling The return of the hybrid theater from the Brazilian directorsEl retorno del cine híbrido por parte de cineastas brasileirosPorto, Denis CinedocumentalcomunicaciónFilmdocumentarycommunicationBrazilian new cinemabuilding societiesfeeling paindying along othersWith a historical and artistic analysis, the article argues the return of a style of cinematographic production that marked the principle of the art, when still did not consider with clarity the sorts fiction and set of documents as different. The research rescues since the first productions with the Lumière brothers, passing for Flaherty, Eisenstein, Glauber Rocha and Eduardo Coutinho, being rescued by Brazilian productions of century XXI that had marked the world, in the hands (and of the brains) of Walter Salles and Fernando Meirelles, having as characteristic discrete, however limiting, the harmonic relation of the two languages in order to consider a convincing plot and, simultaneously, involving. For this, it supports in Roger Odin, Jean-Claude Bernardet, Alberto Cavalcanti, Jacques Aumont and Henri Gervaiseau, getting, with this, substantial theoretical and historical force to consider, to support and to provoke such collective reflection.Con un análisis histórico y artístico, el artículo discute el retorno de un estilo de producción cinematográfica que marcó el comienzo del séptimo arte, cuando todavía no se distinguían con claridad los géneros de ficción y documental como diferentes. La investigación repasa desde las primeras producciones de los hermanos Lumière, pasando por Flaherty, Eisenstein, Glauber Rocha y Eduardo Coutinho, y rescatando también producciones brasileñas del siglo XXI que llegan al mundo, de las manos (y los cerebros) de Walter Salles y Fernando Meirelles. Para ello, se sustentan en Roger Odin, Jean-Claude Bernardet, Alberto Cavalcanti, Jacques Aumont y Henri Gervaiseau, obteniendo sí fuerz teórica e histórica para proponer, sustentar y provocar tal reflexión colectiva.Universidad de Piura. Facultad de Comunicación2022-06-03info:eu-repo/semantics/articleinfo:eu-repo/semantics/publishedVersionArticle evaluated by pairstextArtículo evaluado por parestextoapplication/pdfhttps://revistadecomunicacion.com/article/view/2834Revista de Comunicación; Vol. 6 No. 1 (2007); 131-141Revista de Comunicación; Vol. 6 Núm. 1 (2007); 131-1412227-14651684-0933reponame:Revista de Comunicacióninstname:Universidad de Piurainstacron:UDEPspahttps://revistadecomunicacion.com/article/view/2834/2351Derechos de autor 2022 Revista de Comunicaciónhttp://creativecommons.org/licenses/by-nc-nd/4.0info:eu-repo/semantics/openAccessoai:revistas.udep.edu.pe:article/28342022-06-04T01:14:06Z
dc.title.none.fl_str_mv The return of the hybrid theater from the Brazilian directors
El retorno del cine híbrido por parte de cineastas brasileiros
title The return of the hybrid theater from the Brazilian directors
spellingShingle The return of the hybrid theater from the Brazilian directors
Porto, Denis
Cine
documental
comunicación
Film
documentary
communication
Brazilian new cinemabuilding societies
feeling pain
dying along others
title_short The return of the hybrid theater from the Brazilian directors
title_full The return of the hybrid theater from the Brazilian directors
title_fullStr The return of the hybrid theater from the Brazilian directors
title_full_unstemmed The return of the hybrid theater from the Brazilian directors
title_sort The return of the hybrid theater from the Brazilian directors
dc.creator.none.fl_str_mv Porto, Denis
author Porto, Denis
author_facet Porto, Denis
author_role author
dc.subject.none.fl_str_mv Cine
documental
comunicación
Film
documentary
communication
Brazilian new cinemabuilding societies
feeling pain
dying along others
topic Cine
documental
comunicación
Film
documentary
communication
Brazilian new cinemabuilding societies
feeling pain
dying along others
description With a historical and artistic analysis, the article argues the return of a style of cinematographic production that marked the principle of the art, when still did not consider with clarity the sorts fiction and set of documents as different. The research rescues since the first productions with the Lumière brothers, passing for Flaherty, Eisenstein, Glauber Rocha and Eduardo Coutinho, being rescued by Brazilian productions of century XXI that had marked the world, in the hands (and of the brains) of Walter Salles and Fernando Meirelles, having as characteristic discrete, however limiting, the harmonic relation of the two languages in order to consider a convincing plot and, simultaneously, involving. For this, it supports in Roger Odin, Jean-Claude Bernardet, Alberto Cavalcanti, Jacques Aumont and Henri Gervaiseau, getting, with this, substantial theoretical and historical force to consider, to support and to provoke such collective reflection.
publishDate 2022
dc.date.none.fl_str_mv 2022-06-03
dc.type.none.fl_str_mv info:eu-repo/semantics/article
info:eu-repo/semantics/publishedVersion
Article evaluated by pairs
text
Artículo evaluado por pares
texto
format article
status_str publishedVersion
dc.identifier.none.fl_str_mv https://revistadecomunicacion.com/article/view/2834
url https://revistadecomunicacion.com/article/view/2834
dc.language.none.fl_str_mv spa
language spa
dc.relation.none.fl_str_mv https://revistadecomunicacion.com/article/view/2834/2351
dc.rights.none.fl_str_mv Derechos de autor 2022 Revista de Comunicación
http://creativecommons.org/licenses/by-nc-nd/4.0
info:eu-repo/semantics/openAccess
rights_invalid_str_mv Derechos de autor 2022 Revista de Comunicación
http://creativecommons.org/licenses/by-nc-nd/4.0
eu_rights_str_mv openAccess
dc.format.none.fl_str_mv application/pdf
dc.publisher.none.fl_str_mv Universidad de Piura. Facultad de Comunicación
publisher.none.fl_str_mv Universidad de Piura. Facultad de Comunicación
dc.source.none.fl_str_mv Revista de Comunicación; Vol. 6 No. 1 (2007); 131-141
Revista de Comunicación; Vol. 6 Núm. 1 (2007); 131-141
2227-1465
1684-0933
reponame:Revista de Comunicación
instname:Universidad de Piura
instacron:UDEP
instname_str Universidad de Piura
instacron_str UDEP
institution UDEP
reponame_str Revista de Comunicación
collection Revista de Comunicación
repository.name.fl_str_mv
repository.mail.fl_str_mv
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The return of the hybrid theater from the Brazilian directors
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