De la idea a la imagen: los procesos de creación cinematográfica en la España de las vanguardias
[EN] In Spain, the influence of European avant-garde movements produced a break of the artistic canon established, being nowadays considered as one of the most fruitful periods of our culture. This period, comprised between 1910 and 1936, the starting year of the Spanish Civil War, after which this...
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| 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:10251/88756 |
| Acceso en línea: | https://riunet.upv.es/handle/10251/88756 |
| Access Level: | acceso abierto |
| Palabra clave: | Arte Producción artística Estética Teoría del Arte Gestión cultural Educación artística Investigación artística |
| Sumario: | [EN] In Spain, the influence of European avant-garde movements produced a break of the artistic canon established, being nowadays considered as one of the most fruitful periods of our culture. This period, comprised between 1910 and 1936, the starting year of the Spanish Civil War, after which this period would be stopped. Currently, to know how these innovative proposals had place is highly relevant. These proposals allowed the artistic development in Spain and becoming crucial for this country, as well as for the rest of Europe. In 1895, the cinema’s invention by the Lumière brothers caused the appearance of creators who cared about this new kind of art, using it as an experimentation media. The surrealist movement had a great acceptance by Spanish artists, being the most representative case Luis Buñuel and Salvador Dalí. But cinema not only had an experimental use: José Val del Omar used it as a scientific tool, using it with an educational value during his work at the Educational Missions, as well as trying to patent inventions that would help in its technological development. Ramón Gómez de la Serna knew how to make use of cinema to expand his personal literary world. Others, like Federico García Lorca or Ernesto Giménez Caballero, just worked around it or even encouraging it. All of them made unique artworks at the film industry that, throughout art history, represented the "total artwork" that was able to collect the rest of disciplines: music, painting, scenery, theatre or literature. This communication tries to show the existing relationship between the concepts of the real and the virtual in this period, suggesting the importance of the cinematographic creation processes performed from the idea’s conception to its realization. |
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