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

1817

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.

4323

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

9387

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.

16630

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

20701

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.

19433

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

22986

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

22485

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

25432

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

24697

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.