Juventud, marginalidad y subalternidad : origen y evolución del actor natural en el cine de los últimos 30 años en Medellín
Cargando...
Archivos
Compartir
Fecha
Autores
Título de la revista
ISSN de la revista
Título del volumen
Editor
Universidad de Medellín
Documentos PDF
Resumen
Descripción
Motivada por la emergencia del actor natural en el cine de ficción de Medellín, esta investigación se propuso revisar el origen y evolución de este paradigma cinematográfico durante los últimos 30 años a partir del análisis de las producciones de ficción representativas (Rodrigo D: no futuro, La Vendedora de Rosas, Apocalípsur, Los colores de la montaña, Los nadie, Los reyes del mundo). Con este objetivo en mente, se dio lugar al registro reflexivo bidireccional entre el autor y la obra, comprendiendo las formas, métodos y técnicas de creación, para contrastarlas finalmente con la obra terminada y entendida como la materialización de las iniciativas del autor. De esta manera, el análisis fílmico fue un elemento central para registrar las particularidades de las películas y el tratamiento del actor natural en tres coordenadas: juventud, marginalidad y subalternidad. Posteriormente, se integraron al análisis las reflexiones de los autores en entrevistas dirigidas o encontradas en diferentes recursos, en las que se logró dimensionar puntos encuentro tanto como de divergencia en la manera en que se acercan al trabajo con actores naturales en el cine de ficción de Medellín. Gracias a este cruce de elementos del orden analítico tanto como reflexivo, se permitió dar cuenta de particularidades en el tratamiento temático de las películas representativas con actores naturales en el cine de ficción de Medellín, entender la evolución de un recurso narrativo que surgió como una forma de sobreponerse a las limitaciones interpretativas y reunir algunas de las reflexiones de los autores a propósito de la actuación natural en el cine de ficción de Medellín en cuanto a su origen y evolución.
Motivated by the emergence of the natural actor in Medellín's fiction cinema, this research set out to review the origin and evolution of this cinematic paradigm over the last 30 years through the analysis of representative fiction productions (Rodrigo D: No Future, The Rose Seller, Apocalípsur, The Colors of the Mountain, The Nobodies, The Kings of the World). With this objective in mind, a two-way reflective record was created between the author and the work, understanding the forms, methods, and techniques of creation, to finally contrast them with the finished work, understood as the materialization of the author's initiatives. In this way, film analysis was a central element in recording the particularities of the films and the treatment of the natural actor in three coordinates: youth, marginality, and subalternity. Subsequently, the authors' reflections in directed interviews or found in different resources were integrated into the analysis, in which it was possible to gauge points of agreement and divergence in the way they approach working with natural actors in Medellín fiction films. Thanks to this combination of analytical and reflective elements, it was possible to account for particularities in the thematic treatment of representative films with natural actors in Medellín fiction cinema, understand the evolution of a narrative resource that emerged as a way to overcome interpretive limitations, and gather some of the authors' reflections on natural acting in Medellín fiction cinema in terms of its origin and evolution.
Motivated by the emergence of the natural actor in Medellín's fiction cinema, this research set out to review the origin and evolution of this cinematic paradigm over the last 30 years through the analysis of representative fiction productions (Rodrigo D: No Future, The Rose Seller, Apocalípsur, The Colors of the Mountain, The Nobodies, The Kings of the World). With this objective in mind, a two-way reflective record was created between the author and the work, understanding the forms, methods, and techniques of creation, to finally contrast them with the finished work, understood as the materialization of the author's initiatives. In this way, film analysis was a central element in recording the particularities of the films and the treatment of the natural actor in three coordinates: youth, marginality, and subalternity. Subsequently, the authors' reflections in directed interviews or found in different resources were integrated into the analysis, in which it was possible to gauge points of agreement and divergence in the way they approach working with natural actors in Medellín fiction films. Thanks to this combination of analytical and reflective elements, it was possible to account for particularities in the thematic treatment of representative films with natural actors in Medellín fiction cinema, understand the evolution of a narrative resource that emerged as a way to overcome interpretive limitations, and gather some of the authors' reflections on natural acting in Medellín fiction cinema in terms of its origin and evolution.
Palabras clave
Actores naturales, Cine de ficción en Medellín, Gaviria, Víctor, Mora, Laura, Subalternidad, Realismo, La vendedora de rosas, Naturalismo, Rodrigo D, Los reyes del mundo, Juventud, Marginalidad, Periferia, Natural actors, Fiction cinema in Medellín, Subalternity, Realism, Naturalism, Youth, Marginality, Periphery