FOTONOVELA Y NUEVAS TENDENCIAS EN VÍDEO ARTE
[EN] Since its inception and up to 90 video has been documented and analyzed exhaustively. In recent years it has heard the rumor of the death of the genre, although the image capture devices multiply exponentially, as well as their fans and distribution channels, which have conquered phones, comput...
| Autores: | , |
|---|---|
| Tipo de recurso: | capítulo de libro |
| Fecha de publicación: | 2015 |
| País: | España |
| Institución: | Universitat Politècnica de València (UPV) |
| Repositorio: | RiuNet. Repositorio Institucional de la Universitat Politécnica de Valéncia |
| Idioma: | español |
| OAI Identifier: | oai:riunet.upv.es:10251/89177 |
| Acceso en línea: | https://riunet.upv.es/handle/10251/89177 |
| Access Level: | acceso abierto |
| Palabra clave: | Arte Producción artística Estética Teoría del arte Gestión cultural Educación artística Investigación artística |
| Sumario: | [EN] Since its inception and up to 90 video has been documented and analyzed exhaustively. In recent years it has heard the rumor of the death of the genre, although the image capture devices multiply exponentially, as well as their fans and distribution channels, which have conquered phones, computers and tablets. Video art emerged with the movement, the physical movement of the frame of the film to magnetic tape, until the digital format paralyzed. The movement is simulated and only: a vertical red stripe reader head metaphor of the old equipment. The result of these technical changes can not ignore. The time is moved, the movement of the tape in the machine, the viewer perceptual task. Time has been removed from the video support; so we can make videos without time: no time--‐image. At the origin he was always the frame. Roland Barthes speaks of "temporality of meaning" when explaining the third sense of the image. He recognizes there fotonovela comics and other arts like that frame. This paper attempts to analyze the possibilities of video art still image made from pioneering authors like Chris Marker and his 1962 short film La Jetée; to the path of James Coleman, who for nearly 30 years has explored the narrative possibilities of the projection of still images; or artists such as Douglas Gordon who has made the temporal experimentation the theme of his work. We also explored the creative possibilities that allows the still image in the current video field, recovering the aesthetics and language of fotonovela, and possibilities of current video and display technologies through the analysis of a case study. |
|---|