crossed words

entradas con palabra clave: cine | volver

La representación del límite en El cielo sobre Berlín de Wim Wenders

the intentioned framing

Pensamiento, cinema, architecture

El artículo analiza cómo relata Wim Wenders la ciudad dividida en su película El cielo sobre Berlín (1987), estudiando qué mirada ejerce sobre el límite que construye la coexistencia forzada de dos ciudades, cómo nos traslada la realidad de una ciudad dividida por una frontera física e ideológica, qué localizaciones de la ciudad selecciona, qué actores escoge como vehículo para narrar su historia, y qué relaciones mantienen los mismos con el espacio urbano

Diccionario analógico. Cine y arquitectura.

the intentioned framing

Pensamiento, art, photography, cinema, architecture

El cine y la arquitectura comparten una historia de encuentros. El séptimo arte ha necesitado de la arquitectura, del marco construido, como telón de fondo de las acciones desarrolladas en la pantalla. El cine ha permitido establecer una mirada diferente sobre el territorio artificialmente construido en el que los hombres habitamos, una mirada subjetiva, intencionada y distante. El diccionario aborda la posibilidad de diseccionar intencionadamente el trabajo del arquitecto y del cineasta mediante un posible conjunto de términos comunes.

Magritte. Words, images, cinema and architecture

the intentioned framing

Pensamiento, art, cinema, architecture

René Magritte published « Les mots et les images » in 1929. The architecture in his paintings and his cinematographic experiences are inspired by this hieroglyphic of multiple readings.

Absolutely on Music. Conversations.

the intentioned framing

Pensamiento, art, music, cinema, architecture

This text was born as a personal commentary to a rich two-way dialogue established between the writer Haruki Murakami and the musician Seiji Ozawa in their book Absolutely on Music. Conversations. Along the way, some more interlocutors fictitiously joined the conversation.

Georges de La Tour in Tous les matins du monde

the intentioned framing

art, photography, cinema, architecture

Alain Corneau recognizes the inspiration in the work of the baroque painters Lubin Baugin and Georges de La Tour when studying the composition of certain frames and the intimate treatment of light in the film Tous les matins du monde, released in 1981.

The false return: archeographies of Elevator to the Gallows.

the intentioned framing

cinema, architecture

Based on a strictly visual analysis of the film's images, the article studies the possibility of tracing a possible graphic reconstruction of the spaces used during the shooting of Ascenseur pour l'échafaud [Elevator for the Scaffold, Louis Malle, 1958].

Philip Glass y Jean Cocteau. Opera and cinema

the intentioned framing

art, music, cinema

Philip Glass compose between 1991 and 1996 a trilogy of operas based on three homonymous films by Jean Cocteau: Orphée (1950), La belle et la bête (1946) and Les enfants terribles (1950). Always working with absolute respect and admiration for the French director Philip Glass makes a transcription between the cinematographic field and the operatic one very different in the three cases.

Godard in the Villa Malaparte

the intentioned framing

cinema, architecture

In 1963, six years after the death of its owner and the same year of the death of the architect Adalberto Libera, Jean Luc Godard chooses the Malaparte house for his film Le Mepris, based on a novel by the Roman writer Alberto Moravia. This text is an excerpt from the article Tres [+1] personajes en busca de terraza, published in 2009 in the book CASA x CASA, in which the filming in the house is analysed.

Ozu’s House

the intentioned framing

cinema, architecture

The architect Marta Peris Eugenio has just published a revealing document about one of the most important filmmakers of the twentieth century and, in addition, one of the most interesting to architects who approach the cinema as more than just entertainment: La casa de Ozu [Ozu’s house]. A book that, dodging the historical-documentary point of view that characterizes research in other disciplines, works from the particular perspective of the designer, with a professional look related to the existing with a certain greed for appropriation, a more technical than historical curiosity, interested in unveiling the way in which the problems were solved from the logic of the project, analyzing the visual and constructive decisions adopted to build the film.

Cinema female pionners

the intentioned framing

art, cinema

The first recognized presence of women in the universe of cinema was in the field of interpretation. Two other works, however, were from the beginning covered for very different reasons mostly by the female world in a much more anonymous way: the editing and the control of continuity during filming and postproduction. Although, without a doubt, the area in which this necessary recognition of the important role of women in the world of cinema becomes more relevant is in the field of filmmaking.

The single look. An architect thinks the cinema

the intentioned framing

art, cinema, architecture

Abada Editores published in January 2019 my book La mirada única. Un arquitecto piensa el cine [The single look. An architect thinks the cinema]. Juan Deltell Pastor.

Cinema and Architecture. Extracts.

cinema, architecture

Cinema and architecture require the same glaze, the same kind of reception. Walter Benjamin.

movie posters & no-movie posters

the intentioned framing

cinema, architecture

NO-MOVIE POSTERS is much more than an allegory; it is a love song to cinema, to its promotional posters, to sketching, to photography and to those untold stories that want to fly but don’t have wings.

JackBackPack_Ruptura Silenciosa

the intentioned framing

cinema, architecture

The magazine JACK, initially managed by the Portuguese research group Ruptura Slenciosa, and currently published under the auspices of the Jackbackpack project, is one of the few publications that seriously analyses the relationship between cinema and architecture. The second issue has been published recently.

Cinema inside cinema

the intentioned framing

art, cinema

From the very beginning some films wanted to talk about the world of cinema, from aspects so different as homage, parody, memory, criticism, nostalgia, caricature, satire and even plagiarism. Especially significant are those situations in which the audience is intended to be conscious of the staging, clearly setting out the cinematographic construction’s artifice.

The seduction of the Long take

the intentioned framing

art, cinema, architecture

Many artists of very diverse fields have felt the attraction of including in their works a Long Take, a formal resource always difficult to carry out. The Rope [Alfred Hitchcock, 1948], Touch of Evil [Orson Welles, 1957] or Der Lauf der Dinge [Peter Fischli and David Weis] are good examples of this.

The false city. Urban space acting

the intentioned framing

cinema, architecture

The cinema has created a new way of recognizing the city. Cinema can even reinvent the existent city, through the foreign and timeless gaze with which every filmmaker works. Watching is at once to know and to decide, two practices closely linked to the human condition. The cinema, in some way, has taught us to look at our cities from a different perspective, building in our minds a false memory of the urban spaces that it shows us.

Understanding a Photograph (1972)

Pensamiento, art, cinema

Photographs bear witness to a human choice being exercised in a given situation. A photograph is a result of the photographer's decision that it is worth recording that this particular event or this particular object has been seen. If everything there existed were continually being photographed, every photograph would become meaningless.

Jeanne Moreau and Miles Davis. An unforgettable night.

the intentioned framing

music, cinema, architecture

No longer possible to meet Jeanne Moreau on Boulevard Haussmann. The same Paris that gave birth to her testified last July 31th the silent and domestic closing of her enigmatic and sad look. Miles Davis had been born two years before her, far away. His gaze was also sad, but his death was not silent, rather angry, as it was all his life. Both shared an unforgettable night.

Cinema and Architecture

the intentioned framing

cinema, architecture

Cinema and architecture demand the same look, the same kind of reception.

Mary Ellen Bute

the intentioned framing

music, cinema, architecture

The American artist Mary Ellen Bute (1906-1983) is today recognized as a pioneer of animation films, especially in the field of so-called visual music.

Richard Neutra and Josef von Sternberg

the intentioned framing

cinema, architecture

Richard Neutra designs and builds between 1934 and 1935 a house for the filmmaker Josef von Sternberg, few years after he premiered his famous film Der Blaue Engel (The Blue Angel, 1930). Alejandro de la Sota builds in 1972 a home for the Guzmán family. Both buildings have been demolished, at different times but in very similar circumstances.

Spatial Bodies (2016)

art, cinema, architecture

Stefan Larson, Swedish artist residing in Otsu (Japan) and creator of the AUJIK artistic movement, transforms Osaka into a living organism in one of his latest multimedia projects (Spatial Bodies, 2016).

Theory of the film (1945)

cinema

This is the strongest means of characterization the film possesses; and it is not reproduction but genuine production. The cameraman’s vision, his artistic creative work, the expression of his personality, can be seen only in the screen projection.

Guido Crepax: Valentina’s architect

the intentioned framing

art, comic, music, cinema, architecture

I like the game of the double life, the world of fantasy where anything can happen. The beauty of the fantasy would not be the one that it is without the other side of the coin, the reality.

Federico Babina: Archidirector

cinema, architecture

The Italian architect and illustrator Federico Babina has imagined in one of his collections of drawings, entitled Archidirector, a series of 27 imaginary houses inspired by renowned film directors.

Amalienburg’s seduction

the intentioned framing

art, cinema, architecture

The Amalienburg hunting pavilion, and in particular its Spiegelsaal [Hall of Mirrors], has been source of inspiration for many works of very different creative disciplines.

The secret language of film (1994)

cinema

Caterpillar’s body already contains all cells, all colours of the butterfly, is its potentiality. But it cannot fly. Jean-Claude Carrière read more

The architect Stanley Kubrick. Frank Alexander house.

the intentioned framing

cinema, architecture

Stanley Kubrick uses two different houses, the Jaffe House of the TEAM 4 and the New House of Roy Stout and Patrick Litchfield, for the shooting of one of the most impressive sequences of A Clockwork Orange, the domestic assault of the writer Frank Alexander and his wife.

AVANCA 2016 FILM FESTIVAL

cinema, architecture

The price for the best feature film at the 20th film festival AVANCA 2016 has been awarded to the film Enclave of the Serbian filmmaker Goran Radovanovic, also awarded in 2011 with the same price.

François Truffaut In Lisbon. La Peau Douce (1964)

the intentioned framing

cinema, architecture

François Truffaut films in Lisbon the beginning of La Peau Douce (1964). It’s analysed here the possibility of a graphic reconstruction of the Lisbon fragment sets, exclusively through movie images. (Abstract of the paper presented at the International Conference AVANCA CINEMA 2016 July 28th)

Jean Cocteau in Les Carrières de Lumières

the intentioned framing

cinema, architecture

The privilege of the cinema is that it allows many people to dream the same dream together showing us, in addition, with the rigor of realism, the phantoms of unreality. In short, it is an admirable poetry vehicle.

MAE+CINE

cinema, architecture

MAE+CINE: Architecture behind the screen

Taris, roi de l’eau

the intentioned framing

cinema

I do not know if the result will be a piece of art, but what I am sure is that it will be cinema. Cinema, in the sense that no art, no science, can perform their work. Jean Vigo (1930)

Esprit de vérité

the intentioned framing

cinema, architecture

The School of Architecture of Valencia (ETSAV) hosts from November 18th until December 4th the exhibition Esprit de Vérité: The look OF (and ON) Le Corbusier.

Ascenseur pour l’échafaud: the film and the novel

the intentioned framing

cinema

The Bulgarian writer Noël Calef (Filippoli, 1907 - France, 1968), brother of filmmaker Henri Calef, published his novel Ascenseur pour l'échafaud in 1956. Louis Malle shot the film with the same title the very next year, quoting the writer in the credits as a collaborator with Roger Nimier in the film script elaboration. This text examines the similarities and differences between the literary text and film.

The salt of the earth.

the intentioned framing

photography, music, cinema

In 2014 Wim Wenders release his film "The salt of the earth", a documentary about the life of Sebastiao Salgado. Sevilla hosts until July 2th 2015, and under the "Street art" programme an exhibition of the last work of this committed photographer: Genesis.

Le ballon rouge (1956)

the intentioned framing

cinema

Le ballon rouge tells in about half an hour the passionate and magical story of a boy who finds a red balloon while walking through the streets of Paris. Or is the ball that finds the child?