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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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