ccc10-portada

Nº 11 RESEARCH INTO VISION. HISTORIES OF CINEMA STARTING FROM MAREY

Research into vision. Histories of cinema starting from Marey
Gonzalo De Lucas

DOCUMENTS

About Marey
Alfonso Crespo, Francisco Algarín Navarro, Peter Kubelka

Eadweard Muybridge
Thom Andersen

Genesis of a camera
Jean-Luc Godard, Jean-Pierre Beauviala

FILMS IN DISCUSSION. INTERVIEWS

A conversation with Paulino Viota

ABSTRACT

Paulino Viota talks about the relationship between cinema and science, particularly the works of Godard, and possible correspondences between scientific and poetic research in associative editing. He also presents his method for interpreting cinema, from the tension between objective and subjective analysis in which, by conceiving the film as an object, he searches for invariants, or rather elements that are repeated and which determine the construction of the film.

José Luis Torrelavega

ARTICLES

Trusting the images. Science, photography and the world at hand

ABSTRACT

By examining the effect generated by modernity through which the real world is substituted, exposed and explained in terms of its fragmented, illusory representation (while at the same time transformed into a new truth), and from the points where the mechanical eye of photography meets that of cinema as instruments that generate new perceptions and findings regarding what is visible, the article reflects on the idea that seeing is not knowing, while focusing on the contributions of several pioneer filmmakers and scientists, and particularly on a comparison between Marey’s and Muybridge’s visual experiments.

Andrés Hispano

Notes on the origins of the medical cinematographic gaze

ABSTRACT

Only three years after the public presentation of the Lumières’ cinematograph, medical cinema officially came into being with the first surgical films by French doctor Eugène-Louis Doyen, and with neurological films derived from chronophotographic experiments at the neuropsychiatric hospital of La Salpêtrière in Paris (run by Jean-Martin Charcot), as well as the graphic method proposed by Étienne-Jules Marey. Both are models of scientific film narrative about the human body which, with the consolidation of positivist science, helped to unite the discourse about bodily efficiency and economy. On one hand, by determining an array of corporal movement anomalies in relation to the new visual configuration of psyche, and on the other, by establishing the regulatory protocols in certain procedures in medicine from codified movements by the doctor who is filmed while working in the operating theatre.

Paula Arantzazu Ruiz

Names are what you see when you look at things

ABSTRACT

Starting from an analysis of the opposition of word and image, as proposed by Jean-Luc Godard in his works, we can detect the ever-present tension in the mise-en-scène of a literary text. When word precedes the creation of a film, it becomes a force that limits the filmmaker's possibilities, as well as directing the viewer's gaze. However, films such as those of Hollis Frampton and Guy Sherwin show language development as an enriching experience that makes it possible for people to discover the surrounding world, at the same time as it provides the viewer with a liberating tool with which to subvert the same power discourses that are produced by words.

Alex Pena Morado

Associative vision and figurative comparison

ABSTRACT

The article deals with the processes of association that the viewer constructs in the first person in relation to cinema. Starting from the idea that the uncertainty principle affects the view of any moment in the history of cinema, it takes subjectivity and life experience – rather than any objective presumption of a scientific method – as spaces of observation, thought, constellation and associative montage, through which aesthetic criteria are formed and emerge in each spectator, and the advents of images and figurative manifestations take place. To that end, the author chooses two fragments of commercial films from the 1980s, seen during childhood, installed in the viewer’s memory and seen again now. From there, different ideas about acting gestures surface, analyzed from the standpoint of fragmentation, segmentation and the enlargement of visual signs.

Gonzalo de Lucas

REVIEWS

ALCOZ, Albert. Resonancias fílmicas. El sonido en el cine estructural (1960-1981).
Sergi Álvarez Riosalido

EISENSCHITZ, Bernard. Punto de partida. Entrevista a Robert Kramer
María García Vera