RT info:eu-repo/semantics/conferenceObject
T1 Condiciones cinematográficas en la percepción del espacio arquitectónico: De El hombre de la cámara de Dizga Vertov (1929) al espacio cinematográfico de Le Corbusier (1930)
A1 Villalobos Alonso, Daniel
A1 Pérez Barreiro, Sara María
K1 Arquitectura
K1 Cine
K1 Architecture
K1 Architecture and Cinema
K1 Cine y arquitectura
K1 Cine y ciudad
K1 Le Corbusier
K1 Cinema
K1 Arquitectura
K1 Cinema Studies
K1 Desing
K1 Film’s setting
K1 Architectural Composition
K1 Composición Arquitectónica
K1 6201.01 Diseño Arquitectónico
K1 2209.02 Cinematografía
K1 3311.12 Equipo de Fotografía y Cinematografía
K1 3329.08 Medio Urbano
AB Dizga 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.
PB Edições Cine Clube de Avanca
SN 978-989-96858-4-0
YR 2014
FD 2014
LK http://uvadoc.uva.es/handle/10324/37404
UL http://uvadoc.uva.es/handle/10324/37404
LA spa
NO António 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.
NO Producción Científica
DS UVaDOC
RD 24-nov-2024