Cercanías y distancias entre el videoarte y el cine experimental en la obra de Miguel Alvear

Abstract

This research examines the proximity and distance between video art and experimental cinema in the work of Miguel Alvear, for this purpose it aims to define and explain the characteristics of both genres to analyze the cinematographic and artistic work of the Ecuadorian filmmaker Miguel Alvear. In order to achieve our objectives in this research, we use the methodology which corresponds to the methodological paradigm of the arts, by Hernández Hernández (2006); It is the most propitious methodology to develop reflection works with theoretical or critical motives. The theoretical framework that forms the basis of our research is based on works that contemplate film and video from an experimental point of view, such as Baigorri (2004); Benavides (2010); del Portillo and Caballero (2014); Massara, Sabeckis, and Vallazza (2018); and Smarandache (2019). It is possible to compose a comparative scheme to target: Amina mar (1989), Camal (2000), Blak Mama (2008) and Wir konnen es (2008-2009). This comparison helps us understand that, currently, in the era of digital media, both experimental cinema and video art depend on various factors, such as the places of projection, their presence in the media, their relationship with other arts (even those within the same branch), the temporality of the work at an intra- and extra-diegetic level, and finally, the intention of the author