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dc.contributor.authorVillalobos Alonso, Daniel 
dc.contributor.authorPérez Barreiro, Sara María 
dc.date.accessioned2019-08-13T18:01:26Z
dc.date.available2019-08-13T18:01:26Z
dc.date.issued2014
dc.identifier.citationAntónio Costa Valente y Rita Capucho. Avanca Cinema. Internacional Conference 2014. Avanca (Portugal). Del 23 al 27 de julio de 2014. Edições Cine Clube de Avanca, 2014. pp. 123-130.es
dc.identifier.isbn978-989-96858-4-0es
dc.identifier.urihttp://uvadoc.uva.es/handle/10324/37404
dc.descriptionProducción Científicaes
dc.description.abstractDizga Vertov showed in The Man with the Movie Camara (1929 ), the ability of independent documentary to be separated from a script, the participation of professional actors and a stage of lming, revalidating the predominance of montage as cinema itself against process the interpretation of “stories” . So approached this lm essay to real life in the city and its architecture as a stage. Stage / Architecture seen from its status kinetic vitality. Moreover, within the architectural avant-garde experiences , Le Corbusier movement welcomed the requirement as their own in the design and perception of architectural space. He endowed “time” their musical purists 1923-1929 , while a necessary condition space to be perceived in a “ sequence “ that he called “ promenade architecturale“ . It would be in 1930 when André Bloc ─ editor of the magazine Architecture d’ Aujourd’hui (1929 ) ─ he hired lmmaker Pierre Chenal for , with Le Corbusier, and Chenal same writer , roll three documentaries on modern architecture . Thus, Le Corbusier was able to explain , in the cinematic vision , the temporal and kinetic perception of their architectures and turn the architectural space in Architecture / Stage .The paper analyzes Vertov ‘s documentaries and Chenal / Le Corbusier as a “tool” that allowed show the dynamic dimension of urban and architectural space ; and concludes with the study of the interference of this dual relationship, Architecture / Cinema and Film / Architecture, in a period when the space was consciously designed visually from its angular / temporal requirement , approaching the Film category.es
dc.format.extent9 p.es
dc.format.mimetypeapplication/pdfes
dc.language.isospaes
dc.publisherEdições Cine Clube de Avancaes
dc.rights.accessRightsinfo:eu-repo/semantics/openAccesses
dc.rights.urihttp://creativecommons.org/publicdomain/zero/1.0/*
dc.subject.classificationArquitecturaes
dc.subject.classificationCinees
dc.subject.classificationArchitecturees
dc.subject.classificationArchitecture and Cinemaes
dc.subject.classificationCine y arquitecturaes
dc.subject.classificationCine y Ciudades
dc.subject.classificationLe Corbusieres
dc.subject.classificationCinemaes
dc.subject.classificationArquitecturaes
dc.subject.classificationCinema Studieses
dc.subject.classificationDesinges
dc.subject.classificationFilm’s settinges
dc.subject.classificationArchitectural Compositiones
dc.subject.classificationComposición Arquitectónicaes
dc.titleCondiciones cinematográficas en la percepción del espacio arquitectónico: De El hombre de la cámara de Dizga Vertov (1929) al espacio cinematográfico de Le Corbusier (1930)es
dc.typeinfo:eu-repo/semantics/conferenceObjectes
dc.rights.holderDaniel Villalobos Alonso y Sara Pérez Barreiroes
dc.title.eventAvanca Cinema. Internacional Conference 2014. Avanca (Portugal). Del 23 al 27 de julio de 2014es
dc.description.projectEdições Cine Clube de Avancaes
dc.rightsCC0 1.0 Universal*
dc.type.hasVersioninfo:eu-repo/semantics/publishedVersiones
dc.subject.unesco620101 Diseño Arquitectónicoes
dc.subject.unesco620301 Cinematografíaes
dc.subject.unesco332503 Cinematografíaes
dc.subject.unesco220902 Cinematografíaes
dc.subject.unesco331112 Equipo de Fotografía y Cinematografíaes
dc.subject.unesco332908 Medio Urbanoes


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