Scenery models in the historic spanish cinema
Autor(a) principal: | |
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Data de Publicação: | 2012 |
Tipo de documento: | Artigo |
Idioma: | por |
Título da fonte: | Esboços (Online) |
Texto Completo: | https://periodicos.ufsc.br/index.php/esbocos/article/view/2175-7976.2012v19n27p99 |
Resumo: | The Spanish Cinema about the historical reconstruction has taken a variety of scenery models which have been changing over time. Here, we study several of them and their evolution. Thus, those made in the years of autarchy (1939-1951) of theatrical influence, raised in large studies, monumental, corporeal and plasterboard. Also, we study those built in real locations, sometimes integrating the natural landscape on it or using the surroundings as a movie set without additions. Also, those with a pictorial influence or the ones achieved through digital postproduction and all subtypes arising from combinations of both. Most of these models appear in the historic Spanish film, Alatirste, directed by Agustín Díaz Yanes in 2006 adapting Arturo Perez Reverte’s novels about this character. Alstriste was a turning point in the subject and, therefore, is taken as an example to analyze in detail settings and content. |
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Scenery models in the historic spanish cinemaModelos escenograficos en el cine historico españolThe Spanish Cinema about the historical reconstruction has taken a variety of scenery models which have been changing over time. Here, we study several of them and their evolution. Thus, those made in the years of autarchy (1939-1951) of theatrical influence, raised in large studies, monumental, corporeal and plasterboard. Also, we study those built in real locations, sometimes integrating the natural landscape on it or using the surroundings as a movie set without additions. Also, those with a pictorial influence or the ones achieved through digital postproduction and all subtypes arising from combinations of both. Most of these models appear in the historic Spanish film, Alatirste, directed by Agustín Díaz Yanes in 2006 adapting Arturo Perez Reverte’s novels about this character. Alstriste was a turning point in the subject and, therefore, is taken as an example to analyze in detail settings and content.El cine de reconstrucción histórica español ha adoptado distintos modelos escenográficos, que han ido variando en el tiempo. Se estudian aquí varios de ellos y su evolución. Así, los realizados en los años de la Autarquía (1939-1951) de influencia teatral, levantados en los grandes estudios, monumentales, corpóreos y en cartón piedra. También, los construidos en exteriores reales de la siguiente década, a veces con integración del paisaje natural en los mismos, o los tomados directamente del entorno, sin elementos añadidos. Igualmente, los de influencia pictórica o los logrados con técnicas digitales y todos los subtipos que surgen de las combinaciones entre ellos. La mayoría de los modelos descritos confluyen en la película histórica española Alatriste, que dirigió Agustín Díaz Yanes en 2006 y fue la adaptación de las novelas sobre ese personaje, escritas por Arturo Pérez Reverte. Alatriste marcó un punto de inflexión en el tema y, por ello, se toma como ejemplo para analizar escenografías y contenidos.Universidade Federal de Santa Catarina2012-06-09info:eu-repo/semantics/articleinfo:eu-repo/semantics/publishedVersionapplication/pdfhttps://periodicos.ufsc.br/index.php/esbocos/article/view/2175-7976.2012v19n27p9910.5007/2175-7976.2012v19n27p99Esboços: histories in global contexts; Vol. 19 No. 27 (2012): Dossiê História e Cinema; 99-123Esboços: historias en contextos globales; Vol. 19 Núm. 27 (2012): Dossiê História e Cinema; 99-123Esboços: histórias em contextos globais; v. 19 n. 27 (2012): Dossiê História e Cinema; 99-1232175-79761414-722Xreponame:Esboços (Online)instname:Universidade Federal de Santa Catarina (UFSC)instacron:UFSCporhttps://periodicos.ufsc.br/index.php/esbocos/article/view/2175-7976.2012v19n27p99/23183Copyright (c) 2019 Gloria Camarero Gómezinfo:eu-repo/semantics/openAccessGómez, Gloria Camarero2019-03-01T10:07:14Zoai:periodicos.ufsc.br:article/26767Revistahttps://periodicos.ufsc.br/index.php/esbocos/indexPUBhttps://periodicos.ufsc.br/index.php/esbocos/oaiportaldeperiodicos.bu@contato.ufsc.br||esbocos@contato.ufsc.br||2175-79761414-722Xopendoar:2019-03-01T10:07:14Esboços (Online) - Universidade Federal de Santa Catarina (UFSC)false |
dc.title.none.fl_str_mv |
Scenery models in the historic spanish cinema Modelos escenograficos en el cine historico español |
title |
Scenery models in the historic spanish cinema |
spellingShingle |
Scenery models in the historic spanish cinema Gómez, Gloria Camarero |
title_short |
Scenery models in the historic spanish cinema |
title_full |
Scenery models in the historic spanish cinema |
title_fullStr |
Scenery models in the historic spanish cinema |
title_full_unstemmed |
Scenery models in the historic spanish cinema |
title_sort |
Scenery models in the historic spanish cinema |
author |
Gómez, Gloria Camarero |
author_facet |
Gómez, Gloria Camarero |
author_role |
author |
dc.contributor.author.fl_str_mv |
Gómez, Gloria Camarero |
description |
The Spanish Cinema about the historical reconstruction has taken a variety of scenery models which have been changing over time. Here, we study several of them and their evolution. Thus, those made in the years of autarchy (1939-1951) of theatrical influence, raised in large studies, monumental, corporeal and plasterboard. Also, we study those built in real locations, sometimes integrating the natural landscape on it or using the surroundings as a movie set without additions. Also, those with a pictorial influence or the ones achieved through digital postproduction and all subtypes arising from combinations of both. Most of these models appear in the historic Spanish film, Alatirste, directed by Agustín Díaz Yanes in 2006 adapting Arturo Perez Reverte’s novels about this character. Alstriste was a turning point in the subject and, therefore, is taken as an example to analyze in detail settings and content. |
publishDate |
2012 |
dc.date.none.fl_str_mv |
2012-06-09 |
dc.type.driver.fl_str_mv |
info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion |
format |
article |
status_str |
publishedVersion |
dc.identifier.uri.fl_str_mv |
https://periodicos.ufsc.br/index.php/esbocos/article/view/2175-7976.2012v19n27p99 10.5007/2175-7976.2012v19n27p99 |
url |
https://periodicos.ufsc.br/index.php/esbocos/article/view/2175-7976.2012v19n27p99 |
identifier_str_mv |
10.5007/2175-7976.2012v19n27p99 |
dc.language.iso.fl_str_mv |
por |
language |
por |
dc.relation.none.fl_str_mv |
https://periodicos.ufsc.br/index.php/esbocos/article/view/2175-7976.2012v19n27p99/23183 |
dc.rights.driver.fl_str_mv |
Copyright (c) 2019 Gloria Camarero Gómez info:eu-repo/semantics/openAccess |
rights_invalid_str_mv |
Copyright (c) 2019 Gloria Camarero Gómez |
eu_rights_str_mv |
openAccess |
dc.format.none.fl_str_mv |
application/pdf |
dc.publisher.none.fl_str_mv |
Universidade Federal de Santa Catarina |
publisher.none.fl_str_mv |
Universidade Federal de Santa Catarina |
dc.source.none.fl_str_mv |
Esboços: histories in global contexts; Vol. 19 No. 27 (2012): Dossiê História e Cinema; 99-123 Esboços: historias en contextos globales; Vol. 19 Núm. 27 (2012): Dossiê História e Cinema; 99-123 Esboços: histórias em contextos globais; v. 19 n. 27 (2012): Dossiê História e Cinema; 99-123 2175-7976 1414-722X reponame:Esboços (Online) instname:Universidade Federal de Santa Catarina (UFSC) instacron:UFSC |
instname_str |
Universidade Federal de Santa Catarina (UFSC) |
instacron_str |
UFSC |
institution |
UFSC |
reponame_str |
Esboços (Online) |
collection |
Esboços (Online) |
repository.name.fl_str_mv |
Esboços (Online) - Universidade Federal de Santa Catarina (UFSC) |
repository.mail.fl_str_mv |
portaldeperiodicos.bu@contato.ufsc.br||esbocos@contato.ufsc.br|| |
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1797174879093522432 |