Publication: Estética de lo popular en el cine de Joris Ivens y Aldo Francia: resignificar la memoria y patrimonio de Valparaíso
Authors
Aceituno Silva, David ; Collao Donoso, Dámaris Natalia
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Publisher
Universidad de Murcia, Servicio de Publicaciones
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DOI
https://doi.org/10.6018/cartaphilus.362221
ttps://doi.org/10.6018/cartaphilus.362221
ttps://doi.org/10.6018/cartaphilus.362221
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info:eu-repo/semantics/article
Description
Abstract
El presente artículo tiene por
objetivo analizar la mirada estética de
dos grandes cineastas de los años ‘60 y
’70, cuyo trabajo rupturista marcó una
época de controversia en Chile. Joris
Ivens, pionero de cine realidad, y Aldo
Francia, padre del nuevo cine chileno, a
través de su obras “A Valparaíso” y
“Valparaíso mi amor”, respectivamente,
muestran una ciudad poco conocida y
valorada por su configuración popular.
A través de un análisis histórico del len‐
guaje fílmico buscamos comprender los
lentes de estos cineastas para así refle‐
xionar sobre un patrimonio material e
inmaterial de la ciudad de Valparaíso
que se crea y recrea entre sus calles,
cerros, escaleras y pobreza, más allá de
lo conocido y valorado históricamente.
La mirada a lo popular, a la gente de a
pie, a quienes con esfuerzo y lucha lo‐
graron sortear la geografía del puerto,
permite cuestionar los patrones y esca‐
las estéticas conocidos. Analizaremos
en estas líneas la puesta en valor de la
verdadera riqueza patrimonial de Valpa‐
raíso ‐ciudad declarada el año 2003
Patrimonio Mundial de la humanidad‐,
la que a través de la experiencia fílmica
de estos artistas se dejará conocer para
consolidar la memoria de una ciudad
que se desconoce a si misma.
This article aims to analyse the aesthetic gaze of two great filmmakers of the years ' 60 and ' 70, whose groundbreaking work marked a time of controversy in Chile. Joris Ivens, pioneer of cinema reality, and Aldo Francia, father of the new Chilean cin‐ ema, through his works "to Valparaiso" and "Valparaiso mi Amor", respectively, show a city little known and valued by its popular configuration. Through a historical analysis of the film language we seek to understand the lenses of these filmmakers in order to reflect on a material and immaterial heritage of the city of Valparaiso that is created and recreates between its streets, hills, stairs and poverty, beyond Historically known and valued. The view to the popular, to the people of walking, who with effort and struggle managed to circumvent the geography of the port, allows to question the patterns and aesthetic scales known. We will analyze in these lines the value of the true pat‐ rimonial richness of Valparaiso‐City declared the year 2003 World Heritage of Humanity, which through the film experience of these artists is left to know to consolidate the memory of A city that doesn't know itself.
This article aims to analyse the aesthetic gaze of two great filmmakers of the years ' 60 and ' 70, whose groundbreaking work marked a time of controversy in Chile. Joris Ivens, pioneer of cinema reality, and Aldo Francia, father of the new Chilean cin‐ ema, through his works "to Valparaiso" and "Valparaiso mi Amor", respectively, show a city little known and valued by its popular configuration. Through a historical analysis of the film language we seek to understand the lenses of these filmmakers in order to reflect on a material and immaterial heritage of the city of Valparaiso that is created and recreates between its streets, hills, stairs and poverty, beyond Historically known and valued. The view to the popular, to the people of walking, who with effort and struggle managed to circumvent the geography of the port, allows to question the patterns and aesthetic scales known. We will analyze in these lines the value of the true pat‐ rimonial richness of Valparaiso‐City declared the year 2003 World Heritage of Humanity, which through the film experience of these artists is left to know to consolidate the memory of A city that doesn't know itself.
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Joris Ivens , Aldo Francia , Estética , Valparaíso , Patrimonio , Memoria , Aesthetic , Heritage , Memory
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