Cine y pintura. El caso de Goya en Burdeos, de Carlos Saura
Date
Authors
Subject
cine
pintura
composición
iconografía
semiología
cinema
painting
composition
iconography
semiology
pintura
composición
iconografía
semiología
cinema
painting
composition
iconography
semiology
Language:
Journal Title
Journal ISSN
Volume Title
Publisher
Instituto Tecnológico de Santo Domingo (INTEC)
La interacción entre el cine y la pintura ha evolucionado desde comienzos del siglo XX. Ambos lenguajes se han retroalimentado durante los últimos ciento treinta años, sirviéndose de los elementos inherentes de cada uno: mientras el cine ha recurrido a la pintura en busca de iconografía, de elementos para la ambientación histórica de una época o para copiar un esquema de luz, formas y color que contribuya a crear una atmósfera determinada –y con ello, la capacidad de lo pictórico para sublimar una imagen-, las artes plásticas han copiado nuevas fórmulas expresivas derivadas del “séptimo arte”. Tras analizar la evolución de este diálogo, en el presente texto se formula una categorización de las correspondencias cine-pintura, y se recurre al método de análisis iconográfico e iconológico del ensayista e historiador Erwin Panofsky (1892- 1968), que toma en consideración el contexto sociocultural del autor y de la obra. Asimismo, y como aplicación práctica de lo anterior, se analiza el diálogo entre la obra del pintor Francisco de Goya y el cineasta Carlos Saura, a través de la película “Goya en Burdeos” (1999), obteniendo unos resultados que ejemplifiquen dicha categorización y permitan al alumnado diseccionar y generar nuevos planteamientos artísticos.
The interaction between cinema and painting has evolved since the beginning of the 20th century. Both languages have used the inherent elements of each over the last 130 years: while cinema has turned to painting in search of iconography, characteristics of a historical era or to copy a light and color scheme that creates an atmosphere to sublimate an image, painting has copied new expressive ways derived from “the seventh art”. After analysing the evolution of this dialogue, this text formulates a classification of the correspondences between cinema and painting, and resorts to the iconographic and iconological analysis method of Erwin Panofsky (1892-1968), which takes into consideration the sociocultural context of the author and his/her work. Likewise, and as a practical application of the above, the dialogue between the work of Francisco de Goya and the filmmaker Carlos Saura is analyzed, through the film "Goya in Bordeaux" (1999), obtaining results that exemplify this classification and allow students to dissect and generate new artistic approaches.
The interaction between cinema and painting has evolved since the beginning of the 20th century. Both languages have used the inherent elements of each over the last 130 years: while cinema has turned to painting in search of iconography, characteristics of a historical era or to copy a light and color scheme that creates an atmosphere to sublimate an image, painting has copied new expressive ways derived from “the seventh art”. After analysing the evolution of this dialogue, this text formulates a classification of the correspondences between cinema and painting, and resorts to the iconographic and iconological analysis method of Erwin Panofsky (1892-1968), which takes into consideration the sociocultural context of the author and his/her work. Likewise, and as a practical application of the above, the dialogue between the work of Francisco de Goya and the filmmaker Carlos Saura is analyzed, through the film "Goya in Bordeaux" (1999), obtaining results that exemplify this classification and allow students to dissect and generate new artistic approaches.
Description
Type
info:eu-repo/semantics/article
info:eu-repo/semantics/publishedVersion
Items evaluated by peers
Artículos evaluado por pares
info:eu-repo/semantics/publishedVersion
Items evaluated by peers
Artículos evaluado por pares
Source
Science and Education; Vol. 9 No. 2 (2025): Science and Education; 61-76
Ciencia y Educación; Vol. 9 Núm. 2 (2025): Ciencia y Educación; 61-76
2613-8808
2613-8794
10.22206/ciened.ciened.2025.v9i2
Ciencia y Educación; Vol. 9 Núm. 2 (2025): Ciencia y Educación; 61-76
2613-8808
2613-8794
10.22206/ciened.ciened.2025.v9i2