%0 Journal Article
%T El plano secuencia: Pedro Costa y la trilog¨ªa de Fontainhas
%A Vieguer
%A Marcelo
%J La Trama de la Comunicaci¨®n
%D 2012
%I Universidad Nacional de Rosario
%X [es] Desde la aparici¨®n del plano secuencia en forma expresiva con Citizen Kane, tal recurso se convirti¨® en sin¨®nimo de modernidad cinematogr¨¢fica. Ni tanto ni tan poco, el uso del plano secuencia, generalmente visible, se lo comprendi¨® como maniera formal y toque de virtuosismo. Con el director portugu¨¦s Pedro Costa, es posible entender de qu¨¦ manera la cr¨ªtica y teor¨ªa f¨ªlmica sobredimensionan criterios est¨¦-ticos ante lo pol¨ªticamente correcto. Con la realizaci¨®n de la trilog¨ªa sobre Fontainhas, Costa se ha convertido en uno de los directores exc¨¦ntricos m¨¢s relevantes de los ¨²ltimos quince a os. El recurrente uso del plano secuencia f¨ªlmico y su persuasi¨®n pol¨ªtica a trav¨¦s de las im¨¢genes discurre sobre las condiciones de producci¨®n y recepci¨®n del cine contempor¨¢neo, poniendo ¨¦nfasis en llevar a la luz del d¨ªa del escenario audiovisual los sectores excluidos de su Lisboa, iniciando un periplo que comienza en Fontainhas. [en] Since the sequence shot expressively appeared with Citizen Kane, this resource became synonymous with cinematic modernity. Neither that much nor that little, the use of the sequence shot, usually visible, is understood as formal manieraand a touch of virtuosity. With the Portuguese director Pedro Costa it is possible to understand how film criticism and theory favor aesthetic criteria rather than what is politically correct. With the production of the trilogy about Fontainhas, Costa has become one of the most important marginal directors in the last fifteen years. The recurrent use of the film sequence shot and his political persuasion through images run on the conditions of production and reception of contemporary cinema, with a clear intention to bring into the light of audiovisual stage the excluded areas of Lisbon, starting a long journey that begins in Fontainhas.
%K Costa
%K Pedro
%K Cine
%K Semi¨®tica
%K Cinema
%K Semiotics
%U http://www.latrama.fcpolit.unr.edu.ar/index.php/trama/article/view/40/36