El fuera de campo: del recurso fílmico al hecho pictórico
[EN] The appearance of the cinema has generated, since its first years, many studies about the relationship between cinema and painting. This investigation, will be added to these studies, focusing on the use of the offscreen. This study will be complemented by a personal painting project, made at t...
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| Tipo de recurso: | tesis de maestría |
| 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:10251/62625 |
| Acceso en línea: | https://riunet.upv.es/handle/10251/62625 |
| Access Level: | acceso abierto |
| Palabra clave: | ausencia fotograma cine y pintura encuadre Fuera de campo PINTURA Máster Universitario en Producción Artística-Màster Universitari en Producció Artística |
| Sumario: | [EN] The appearance of the cinema has generated, since its first years, many studies about the relationship between cinema and painting. This investigation, will be added to these studies, focusing on the use of the offscreen. This study will be complemented by a personal painting project, made at the same time that the theoric investigation. This project, named Lo ausente will be made first in a intuitive way, and then, it'll be improved with our investigation. The name of this pictoric project makes reference to the subject we'll be studying in this investigation: those things we can't see in an image. It is not casual that the offscreen has been known as an absence resource, focusing the viewer's attention in the unshown in the screen. Can the offscreen resource be a link between cinema and painting, appearing in both disciplines? With this investigation, we'll try to answer this question by studying the offscreen's attributes and their existence in the painting. Therefore, we will investigate the role of the offscreen resource in cinema and painting, studying filmakers and painters at the same time. This way, we will get some frames and paintings that will inspire our personal project. In summary, this essay is an investigation about the offscreen resource and the relationship between cinema and painting, but it is, mainly, a way of getting a motivation for a personal painting project. |
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