Para el autor, vivir en el guion tiene sus ventajas: una nueva identidad que puede sintetizar lo mejor de los dos elementos a uno y otro lado del mismo. Los personajes saltan las aguas divisorias solo parcialmente, tratando de ajustarse al nuevo medio sin poder apartarse del todo de aquel de donde provienen.
Ejemplos de la literatura cubana desterrada aparecen a veces en lugares impredecibles. Calvino, Italo. Milano: Mondadori, El vizconde Cloven.
Los caballeros inexistentes. Nadie regresa. Milano: A. Mondadori, Notebook prohibido. El bambolona. Novara: Mondadori-De Agostini, Chansons des filles de mai. Sin lugar autre Que la nuit. Por Marina Zancan.
Barcelona: Linkgua, Madrid: Estab. Tip, Madrid: Imp. Drama oriental en cuatro actos y en verso. Hijuelos, Oscar. Nuestra casa en el pasado mundial. Nueva York: Persea Books, . Los reyes del mambo tocan canciones de amor. Nueva York: Farrar, Straus Giroux, Nueva York: Hyperion, Lolo, Eduardo. Miami, FL: Alexandria Library, La Habana: Editorial Lex, Amistad funesta Versos sencillos. La Edad de Oro. Miami, FL: Ediciones Universal, Gaultier-Laguionie, Recuerdos y memorias de la condesa de Merlin, se publicaron memem. La Habana. La vida en el guion: el camino cubanoamericano.
Villaverde, Cirilo. Dos amores. Eligio de la Puente.
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La Habana: Cultural, S. El penitente. En: Tres novelas: Teresa, Dos amores, El penitente. Heart of darkness. Cantero Moreno, , p The tracking allows the notion of travel where architecture and film can best identify themselves. The viewer assumes as its own view, the camera movement from a subjective point of view.
Many spatial sequences in the Porto School could be comparable to a tracking shot, but certainly the Carlos Ramos Pavilion is the part of the set that works better as initiator element of the outer tour Fig. This isolated and exempt piece, appears in the bottom of a lush garden, to activate a circular centripetal route.
The tectonic and abstract nature of the outer perimeter directs our progress with different speeds, the face with inclined cut shape accelerates and indicates the path along a white wall and the ground floor setback facilitates and frames the threshold of the way forward. The few wall openings that appear and its small size respect to the stretch, determine a pause in the route, the plane change, forced by choosing frames that indicate the entrance to the place where we come from: the garden inside the pavillion.
This trip expands the space and time of arrival and allows to know and appreciate the place where you are going to enter as well as the building that hugs it when you finish the trip: enter to the garden from inside the building. In the film, the circular tracking or architectural promenade around the patrol boat in one of the sequences of the film Fig.click
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We identify as someone who prowls, borrowing the personality of a foreign character, mysterious and disturbing who is at the same time, responsible for generating the tracking shot: A kinetic shock with the war, as the camera are surrounding the ship with several fast and circular "tracking shots" of approaching, while the crew hears and smells the closeness of the war. Cantero Moreno , p. It is the tension generated between the isolated and exempt object, and context that releases this ehergy as kinetic energy which it is expressed not through a single point of view, but with the addition of many.
Figure 2 a, b, c. On the other hand, the use of the cross dissolve can put on the same plane distant spaces and times on a parallel pass. The time finally is folded overlapping itself like a Mobius strip. In architecture, a similar effect it can be attributed to the combined use of transparencies, reflections and qualities of opacity or translucency. As it was mentioned above, in the beginning of the film in 7 minutes it is condensed prologue and epilogue fig. Most of this footage is cross dissolve that allow us to read in one block distant spaces and times: the real time or present of the film overlaid and the past or the future as background, but where is also played at different speeds, creating a temporal distance between the different milestones.
So our time perception will be conditioned. This images overlay also helps to link several scales: the man refugee with his personal items in a domestic space and scale of a distant landscape that illustrates the eternal return. Ramos Pavilion.
Large glazed surfaces allow the outside enter into the inside and vice versa. But also through the reflections produced on these surfaces, the logical traditional and unidirectional perspective is broken. In this Pavilion, wealth oblique perspectives enable and animate a route where simultaneously close relationships with the garden relate to the farthest framed like a film frame trough the window in the top floor of the west wing of the building in this case proportion between the opening and the stretch is reversed.
The pavilion is like a kinematics machine of architecture through varied perspectives merging it that animate the architectural promenade: the tracking shot. Similar interpretation makes Moreno Mansilla , p. Figure 3 a, b. The plane changes, relate, separate or cut different situations.
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It could be as the limit that trims rectangular the reality. On the other hand, the frame only selects the fragment of reality that the it wants highlight and excludes of the rest descontextualization. From this selection is separated from the reality of that is part and acquire new relationships with the elements to which it bind. Siza establishes a dialogue with the environment either by negation or affirmation of this. He frames it through their openings in a similar way the filmmaker gets into frame what he interest about. Contextualizing or descontextualizing is the strategy of the architect to put the construction in place.
Because the negation of the context, is also validated, Siza says. In the gallery linking the classrooms pavilions, the wall openings towards South a dramatic rhythm of lights and shadows of highly contrasting. Changes are like a tracking shot which give us a reference of space-time souped by the perspective. Enrique de Teresa focuses on the discoverer character that Siza's work has. And so, the opening -so important element in Siza's work-, is understood as "[ This apparent denial is what revalues and therefore validates the context.
As in Apocalypse Now, says Moreno Cantero ,? But the rotundity of this gesture does not work only from a single point of view, because through a foreshortened view exaggerates the perspective leading the way towards vertex or focus where the whole geometry of the building is supported.
Viewed frontally when is bathed from South light we recognize it so blinding as the sea with the sunset. The horizon has moved deformed by a large angle to this relationship space in the school. In the film, if the large angle deformation fig. In the gallery linking the classrooms pavilions or in the auditorium ramp, the slight rotation of their boundaries causes a deformation perspective that also works in two directions fig. Similarly at trick through camera lenses on film, in this situation have the effect of wide angle that will make us perceive the deeper space fig.
So mentally we will build a greater development over time. But at the opposite end, the effect will be similar how the film makes use of telephoto fig. Using the telephoto lens in this case fig. The deep negation refuses the possibility of movement and therefore time, leaving as only temporary reference, the lighting change on a horizon that is about to darken. Manipulation of spatial boundaries to generate optical illusion in the architecture of the Oporto School and optical illusion to manipulate the spatial limits in Apocalypse Now.
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