El fotógrafo frente al guion: análisis del cine contemporáneo y su propuesta fotográfica aplicada al cortometraje Historia uno

Abstract

One of the qualities of the seventh art is that one that breaks with reality in order to submit us to a discourse manipulated in advance by the narrator-cineaste who makes a kind of pact in which we agree to believe what we see on the screen. Nevertheless, in order to achieve this connection the narrator-cineaste must achieve that this link is solid enough to avoid that the spectators lose the contact with the new narrative reality. To sum up we can say: cinematics is making tricks which refers to a pact of creator and spectator to reach the assimilation of the film for a benefit on both sides. These tricks are staged from the screenplay. Under these conditions we take a closer look at the project HISTORIA UNO by Alfonso Vallejo. This story deals with the reunion of Julia and Clemente, respectively mother and son. After a long time Clemente comes to his mother’s house who has not heard of him since he has left, she thought he was dead, meanwhile he wrote letters to her. Clemente decides to deliver the letters and finally say goodbye to his mother. The present monographic work is of use as a handbook for the people who take on the task of taking a closer look of a screenplay besides the department of photography and contribute to strengthen the pact of the narrator-cineaste and the spectator referring to the narrative-visual tool a photographer works with: the light. Cinema is light said Fellini