2024-03-29T10:04:27Zhttp://dspace.ucuenca.edu.ec/oai/requestoai:dspace.ucuenca.edu.ec:123456789/270402020-08-03T19:22:51Zcom_123456789_161com_123456789_117com_123456789_33356col_123456789_164
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Tapia Aliatis, Fernando Javier
author
2017
This analythical approach examines about the concepts and ideas of several authors about the process of creation of fictional characters for film, specifically comedy characters. At the same time, it explores the development of the sitcom gender, mainly: dramatic situations process, characters evolution and their relationships. It will try to determinate the importance in logical sequences treatment for web series. To deepen this aspects, the main references of the project are the sitcoms That 70’s Show, New Girl and the YouTube channel Enchufe.tv. However, there will be other references from television and the Internet. Finally, these authors and references of the series will be analyzed and associated to the writing process of the first season of Cumbayork, to found the creative process and consider the achievements and possible errors to work from now on for a second draft of the script.
http://dspace.ucuenca.edu.ec/handle/123456789/27040
Cine Y Audiovisulaes
Comedia
Personajes
Secuencia
Guion
Serie Web
Cumbayork
Proceso de creación de personajes y situaciones en la primera temporada de la serie web cumbayork
oai:dspace.ucuenca.edu.ec:123456789/239702020-08-03T19:22:52Zcom_123456789_161com_123456789_117com_123456789_33356col_123456789_164
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Terreros Gárate, Jaime Eduardo
author
2015
The present research focuses on investigating techniques and tools necessary to write a script that allows the viewer to identify with the protagonists of the history of “Encajes”, understanding and accepting the actions and decisions of these. One of the main concerns of this project is to have an objective approach to the concept-image-euthanasia; this is why it has also been studied the different aspects surrounding this complex issue; reviewing the different positions and pronouncements in areas such as social, moral, legal, political, and religious ethics.
Besides this, the paper investigates how the scripts of acclaimed works from the world of cinema have addressed the concept-image-euthanasia, what tools have they used and how, so that the characters of such works can convey emotions that the viewer identify and create a empathic process. Analyzing the actions, attitudes and decisions made by characters in these films, along with the application of the tools suggested by several specialized in script writing authors. These tools have contributed to the construction of the protagonists of “Encajes”, thus making Mary Constance of Los Angeles and his son Constantine lead us to reflect on the concept euthanasia-image and allow us to identify with them, creating the empathic process.
http://dspace.ucuenca.edu.ec/handle/123456789/23970
Guion
Eutanasia
Cinematografia
Cortometraje
La eutanasia como un acto de amor: creación del proceso empático del espectador hacia el tema, a través de la construcción del guion del cortometraje encajes
oai:dspace.ucuenca.edu.ec:123456789/208512020-08-03T19:22:53Zcom_123456789_161com_123456789_117com_123456789_33356col_123456789_164
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Moscoso Rivera, Lucía
author
2013
Diffusion of the ecuadorian poetry through rock is a study that relates music and literature through hypertext mecanisms, that are part of the theory of transtextuality, a proposal by Gerard Genette, whose result is a discographic material which consents a diffusion between contemporary cuencano rock and the ecuadorian pioneer poetry, through ten songs based on modern, postmodern and avant-gard poets, as a way to aproach young folks to poetry.
http://dspace.ucuenca.edu.ec/handle/123456789/20851
Poesia Ecuatoriana
Transtextualidad
Hipertextualidad
Rock
Poesia
Rock Cuencano
Rock Contemporaneo
Difusión de la poesía Ecuatoriana a través del rock
oai:dspace.ucuenca.edu.ec:123456789/428642023-09-20T16:29:46Zcom_123456789_161com_123456789_117com_123456789_33356col_123456789_164
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Durán Cabrera, Juan Xavier
author
Cajas Collaguazo, Joel Steven
author
Cueva Martínez, Marissa Joseline
author
2023-09-19
The film project entitled Making, exhibition and theoretical reflection of the short film Indiferentes has three components: the short film, the production folder, and three essays corresponding to each technical area of those who graduate with the project. Regarding the content of the production folder, it consists of several sections in which it is intended to introduce certain aspects related to the form of the short film. All the tests have been carried
out with a view to the practical application in the making of the short film. The research method that articulates the realization of the short film is that of research/creation or based on artistic practice (Hernández Hernández, 2006). The central objective of the project is to investigate the relationship between theater and cinema, where the essence of each of these arts is reflected through the combination of cinematographic and theatrical art. Emphasis is placed on feeling through production design, direction and use of editing.
http://dspace.ucuenca.edu.ec/handle/123456789/42864
Cine
Cinematográfía
Cortometraje
Realización, exhibición y reflexión teórica del cortometraje Indiferentes
oai:dspace.ucuenca.edu.ec:123456789/409132023-01-27T19:20:10Zcom_123456789_161com_123456789_117com_123456789_33356col_123456789_164
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Patiño Morocho, Jennifer Yolanda
author
2023-01-25
In the research titled The symbology on stage to represent the character's psychology in the
short film Hostilidad considers the study of symbolic objects as elements of the scenery and
complementary narrative resources of Vanessa as the main character, who lives in a state of
sadness and fear in her relationship. To achieve this goal, we will base ourselves on the
theoretical concepts established by various authors (LoBrutto, 2002; Tamayo & Hendrickx,
2016; Avendaño; Gentile, Díaz & Ferrari, 2007; etc.), and the three film analyzes of works
focused on our topics of interest, such as: El Castillo de la Pureza (1972), by Arturo Ripstein;
The Milk of Sorrow (2009), by Claudia Llosa, and Midsommar (2019), by Ari Aster. At the
end, we will present the art proposal for the short film and a sample of the results obtained
after applying what was studied. For its part, the methodology for this research is qualitative,
research-creation. Consequently, it is expected that this work would be a new and favorable
contribution to the theoretical field of national cinema.
http://dspace.ucuenca.edu.ec/handle/123456789/40913
Cine
Escenografía
Personajes
Objetos simbólicos
La simbología en escena para representar la psicología del personaje en el cortometraje Hostilidad
oai:dspace.ucuenca.edu.ec:123456789/146412020-08-03T19:22:53Zcom_123456789_161com_123456789_117com_123456789_33356col_123456789_164
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Hermida Palacios, Tania Catalina
author
2004
http://dspace.ucuenca.edu.ec/handle/123456789/14641
Cinematografia
Guion Hollywoodence
Guion Independiente
Tesis En Cine Y Audiovisuales
Módulo teórico: escribir para cine, convenciones, opciones y contradicciones. Módulo práctico: De Concha Camarón y Mixto, guión para largometraje de ficción /110 min
oai:dspace.ucuenca.edu.ec:123456789/239592020-08-03T19:22:54Zcom_123456789_161com_123456789_117com_123456789_33356col_123456789_164
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Espinoza Hernández, Leonardo Andrés
author
2015
Because we live in a world saturated with multimedia products, in a visual arts context that’s constantly changing and growing, the need to study certain aspects of film technique and concept, is becoming more specific and evident.
This thesis holds the purpose of studying the cinematic technique known as Split-Screen, starting with its meaning, origins, evolution and application throughout film history. Several films which use Split-Screen as a form of expression are taken as case studies. Various authors points of view on the subject are also analyzed so as to gain a wider perspective on the subject, along with its modern applications.
The information gathered is later studied and applied to the creation process of the short film Stereo, which uses Split-Screen as its main form of expression, to construct a dual universe that works well in relation to the created storyline. Hypothesis are formulated about the role this technique plays in the film, and are later analyzed in comparison to the final result of the movie, to see if the investigation was successful or not.
http://dspace.ucuenca.edu.ec/handle/123456789/23959
Pantalla Dividida
Cinematografia
Cortometraje
Rodaje
Split-Screen
Sonido Estereo
Pelicula
Sobre la pantalla dividida(Split-Screen) y el sonido estereofónico aplicados al cortometraje Stereo
oai:dspace.ucuenca.edu.ec:123456789/428832023-09-21T21:31:40Zcom_123456789_161com_123456789_117com_123456789_33356col_123456789_164
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Aguilar Cedillo, Camila Madelaine
author
Ordoñez Armijos, Juan Mateo
author
Siguenza Montenegro, Christian Leonardo
author
2023-09-21
The project entitled ‘‘Realization, Exhibition and Theoretical Reflection of the Short Film Vía
de escape’’ consists of three parts: the short film itself, the production portfolio, and finally the
three related individual essays of the participants in this final project. The essays were
developed based on the practical application of the realization of the short film Vía de escape.
The research methodology used to articulate the creation of the short film is that of
research/creation based on artistic practice (Hernández Hernández, 2006). The project’s
specific objective is to present the theme of domestic violence through fiction and genre
cinema.
http://dspace.ucuenca.edu.ec/handle/123456789/42883
Cine
Cortometraje
Escenografía
Realización, exhibición y reflexión teórica del cortometraje Vía de escape
oai:dspace.ucuenca.edu.ec:123456789/231472020-08-03T19:22:55Zcom_123456789_161com_123456789_117com_123456789_33356col_123456789_164
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Moscoso Moreno, Camila
author
2015
This text is about a lighting proposal developed for a short film by the name of Summer Beats; its design follows a guiding scheme upon which certain strategies have been developed that aim at achieving the spectator to identify both with the storyline and the main character of the film.
For this purpose, a general research has been done in order to find out from historical, as well as technical perspectives, about movie lighting.
In a parallel way, a study of several audiovisual and pictorial references throughout time is used to exemplify or visualize the ideas that constitute the scaffold of this proposal, which will later be applied in the film.
Finally, a lighting proposal has been developed through the usage of chromatic differentiation between shifting scenes –with reference to color temperature-. This reflects on the choice of certain physical surroundings and is based upon the emotional and narrative atmosphere that surrounds the main character of the film.
http://dspace.ucuenca.edu.ec/handle/123456789/23147
Iluminacion
Fotografia
Luz
Temperatura De Color
Cinematografia
Psicologia Del Personaje
La iluminación cinematográfica: desarrollo de propuesta de iluminación para el cortometraje Summer Beats
oai:dspace.ucuenca.edu.ec:123456789/377542022-01-12T13:00:31Zcom_123456789_161com_123456789_117com_123456789_33356col_123456789_164
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Sacoto Tacuri, Marcel Fernando
author
2022-01-12
The responsibility of a Director of Photography is one of the most important tasks
when we are developing an audiovisual production, it’s he or she who will tell the story
and the artistic vision of the Director through images. In fiction cinema, the Director of
Photography or DOP, must choose among the whole range of possibilities offered by the
cinematographic language, above all, the cinematographic shoots stand out, which,
depending on the location of the camera, may express or manifest according to what
character or situation requires, however, the narrative dimension of each one depends on
what is to be shown, and in close shots the privacy of the character or object prevails.
Based on the research of authors such as Deleuze (1983), Konigsberg (1997) or Baláz
(2013) it has helped me to create a shooting script where all the shots to be recorded are
detailed, however, a document written in an audiovisual art fails to communicate to the
other departments what the frame will show, for that the creation of a storyboard is
necessary, visually supporting what is proposed in the shooting script.
http://dspace.ucuenca.edu.ec/handle/123456789/37754
Cine
Director de fotografía
Guión de cine
Propuesta de guion técnico y storyboard para el mediometraje La Bala: el plano cerrado como recurso expresivo y dramático
oai:dspace.ucuenca.edu.ec:123456789/18192020-08-03T19:22:55Zcom_123456789_161com_123456789_117com_123456789_33356col_123456789_164
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Albán, Alegria
author
Galarza, Andrés S.
author
2011
http://dspace.ucuenca.edu.ec/handle/123456789/1819
Ernesto Alban
Alban Ernesto
Cine Y Audiovisuales
Evaristo
Evaristo Corral Y Chanquleta
El traje. Proyecto de producción de un largometraje documental de creación
oai:dspace.ucuenca.edu.ec:123456789/387022022-04-18T13:00:08Zcom_123456789_161com_123456789_117com_123456789_33356col_123456789_164
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Coro Apugllón, Luis Angel
author
2022-03-25
Cinema as a moving image heightens its organic discourse through sound. In this field,
superposition is one of the tools frequently used on images; however, by using the same
method it is possible to experiment and perform different techniques that allow to
anticipate or narratively pre-meditate the actions or events of a film through the main
sound elements such as: noise, dialogue, or music. Therefore, this research seeks to
apply certain elements of sound montage in superposition to the short film “El Viaje de
Papá” (Dad ́s Journey); This technique contributes to the synthesis of the argument from
the sound, in addition to the interpretation of the characters. To implement this
technique, it will be based on concepts such as “temporary vanishing lines” from
Michel Chion The Sound (1999), the text by Blas Payri Sound Resources on
“Superposition of diegesis” (2012) and the book In the Blink of an Eye by Walter
Murch (2003) and his theory of "the rule of six"; Furthermore, the methodology to be
used is based on research / creation (Quiroga, 2021) where the exploration of this sound
field will aid in the investigative contribution of the tools and techniques within the
sound montage applied to an audiovisual work.
http://dspace.ucuenca.edu.ec/handle/123456789/38702
Cine
Audiovisuales
Cortometraje
Montaje de superposición sonora como premeditación aplicada al cortometraje El viaje de papá
oai:dspace.ucuenca.edu.ec:123456789/334342020-08-03T19:22:56Zcom_123456789_161com_123456789_117com_123456789_33356col_123456789_164
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Franco Varea, Ana Cristina
author
2019-09-20
This research work analyzes the close relationship between comedy and female self-representation in the context of cinema developed by women. Here, the narrative process is analyzed from two perspectives: in the context of feminism linked to cinema; and in the field of comedy. Both perspectives are studied across four contemporary audiovisual authors (Lena Dunham - 1986 -, Malena Pichot - 1982- Phoebe Mary Waller-Bridge – 1985 -, and Greta Gerwig - 1983), until such tendencies come together.
Most comic female characters have been created by men throughout the history of cinema, and most comedy directors are also men. There have been a small number of female comedians, and only a few of those women assumed the self-representation as a mean to introduce a look of their own in the discourse of their narrative.
As baseline of this work’s methodology, the theory of feminism linked to cinema was revised, as well as the theory related to the origins of comedy. Moreover, the observation and analysis of sixteen audiovisual works (four of each one of the aforementioned chosen authors) was carried out.
The conclusions of this analysis allow us to deduce that women’s comedy is one of the genres that are most feared by the male imaginary. This type of comedy allows women to become real and human, and not remain as an ideal fetish, neither a male fantasy. It is believed that this is why Dunham, Pichot, Waller-Bridge and Gerwig chose self-referential comedy as the territory to express themselves.
http://dspace.ucuenca.edu.ec/handle/123456789/33434
Audiovisuales
Mujer
Feminismo
Cine
La auto- representación y la comedia en el cine contemporáneo hecho por mujeres
oai:dspace.ucuenca.edu.ec:123456789/234212020-08-03T19:22:59Zcom_123456789_161com_123456789_117com_123456789_33356col_123456789_164
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Cachiguango Vásquez, Yuric Maiya
author
2015
The following paper will present the process of building the film’s sound Entre Dolores y Soledad, from preproduction to the sound recording production and to the post-production of this university film project.
First, it starts with an introduction to the sound in the cinematic context, giving place and meaning to this appeal beyond simple misconception of audio recording, as usually happens, but as a film tool for building audiovisual as a complete work. This first part is supplemented with the references to film-making Entre Dolores y Soledad; these references will allow working between its scores and identifying opportunities to experience in the short film done. Then, every stage of production is presented with the respective sub-stages to full implementation of the filmmaking process as a collection of the steps taken and the technical and technological tool applied, according to the requirement in each stage production of the film.
After completing the process of sound,the project is concluded determining the perceptions and emotions of the sound to building the soundtrack from any audiovisual project.
http://dspace.ucuenca.edu.ec/handle/123456789/23421
Sonido Para Cine
Post-Produccion
Cine
Produccion Cinematografica
Banda Sonora
Locacion
Diseño sonoro,el caso del cortometraje de ficción. Entre Dolores y Soledad
oai:dspace.ucuenca.edu.ec:123456789/146362020-08-03T19:23:00Zcom_123456789_161com_123456789_117com_123456789_33356col_123456789_164
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Alvarez, Diego
author
Parra, Juan Miguel
author
Webster, Oscar
author
2002
http://dspace.ucuenca.edu.ec/handle/123456789/14636
Documental La Siembra
Tesis En Cine Y Audiovisuales
La Siembra: memoria cultural
oai:dspace.ucuenca.edu.ec:123456789/402222022-11-15T16:57:26Zcom_123456789_161com_123456789_117com_123456789_33356col_123456789_164
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Carrión Marín, María Eugenia
author
Quimis Gutiérrez, José Antonio
author
Ayala Camacho, Mariel Rosalía
author
2022-11-10
The film project of the short film La última casa has two textual components: the
production folder and the individual essays by area, and a third audiovisual component,
which is the short film. And from this, the analytical essays that theoretically support the
proposals corresponding to the areas of Production, Direction, and Sound. These essays
are entitled respectively: Strategies to minimize the cost of the production of the short film
The La última casa; Spatiality and mise-en-scène in the directing of the short film La
última casa; and, Sound effects: narration and subtext in the film project La última casa.
Through this research, each of the proposals in the specified areas, applied in the making
of the short film, which is presented as the third component of our project, are supported.
We hope to contribute to the study of audiovisual production, film direction and sound
direction in the reflection of national film theory.
http://dspace.ucuenca.edu.ec/handle/123456789/40222
Cine
Audiovisuales
Sonido
Realización, exhibición y reflexión teórica del cortometraje. La última casa
oai:dspace.ucuenca.edu.ec:123456789/240322020-08-03T19:23:00Zcom_123456789_161com_123456789_117com_123456789_33356col_123456789_164
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Peña Gutiérrez, Freddy René
author
2016
While conducting this research we were able to collect references, experiences that strengthened the creation of a comic character, during this trip could study the likes of Charles Chaplin, Cantinflas, Robert de Niro who served as inspiration for the creation of " Tocho Morocho "protagonist of the film I want to be a clown.
This paper aims graduation prototype of a comic figure applied to the short film I want to be a clown, the character “Tocho Morocho” is the result of experience gained with the years, children's parties and plays in order to achieve understand how the resources around you can make people laugh.
Morocho billet in mind the saying "the show must go on", using everything he learned by watching his idol acts of "Splash" Try to impress the circus owner and his actors through their act of levitation, making the final its goal coming on as late substitute clown to the astonishment of all.
http://dspace.ucuenca.edu.ec/handle/123456789/24032
Cine
Audiovisuales
Codigo Hays
Cantinfladas
Cortometraje
Propuesta De Prototipo
Prototipo
Personaje Comico
Propuesta de prototipo de personaje cómico aplicado al cortometraje quiero ser payaso
oai:dspace.ucuenca.edu.ec:123456789/369812021-10-15T20:20:43Zcom_123456789_161com_123456789_117com_123456789_33356col_123456789_164
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Urgilés Bustos, Paúl Marcelo
author
2021-10-15
This research aims to study the cinematographic angle, that is, the location of the
camera with respect to the filmed object, as well as what it transmits to the viewer when
constituting the (visual) point of view, to apply it to the short film Tercera visita (2021).
The research whose results are taken to cinematographic practice, follows the
qualitative paradigm according to the type of research / creation of Hernández
Hernández (2006, 13, 19 y 29; 2015). In the theoretical field, the camera angle and the
point of view have important studies that at the same time configure the theoretical
framework of the research: Jorge Caldera Serrano (2002); Rodolfo Denevi (2005);
Alexis Racionero (2008); Leonardo Faicán, Luciano Serrano, Patricio Paredes and
Vinicio Vega (2013); and De Santiago Ruiz and Orte García (2017). Likewise, the
analysis of three films is carried out: Kill bill (2003), by Quentin Tarantino; Ciudad de
Dios (2002), by Fernando Meirelles and Kátia Lund; and Pescador (2011), by Sebastián
Cordero, referents of the proposal. The analysis of the films uses the methodology of
Gentile, Díaz and Ferrari, who in their book Escenografía cinematográfica (2007),
dedicate a chapter to cinematographic direction and language, specifically on
angulation. The results of the work indicate a fairly marked coherence between the
theoretical proposal and the practical application
http://dspace.ucuenca.edu.ec/handle/123456789/36981
Cine
Audiovisuales
Película
Ficción
El ángulo de cámara y el punto de vista aplicados a la dirección del cortometraje Tercera visita
oai:dspace.ucuenca.edu.ec:123456789/415252023-03-24T22:48:21Zcom_123456789_161com_123456789_117com_123456789_33356col_123456789_164
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Ramón López, Mónica Paulina
author
2023-03-24
The project consists of the creation of a production design, based on the pillars of color
psychology and scenography, to portray the child's point of view. Our goal is to study,
understand and apply them to create a dramatic universe that denotes the reality of our child
protagonist. The theorists used will be: Emotional development in primary education (6-12
years) (2006-2007), by Gallardo; Characterization of the psychological state in children
separated from their parental figures due to emigration (2016), by Domínguez, Gutiérrez and
León; Parental migration and its effects on children and adolescents (2010), by Velastegui;
Art direction in Peruvian cinema (2016) by Tamayo and Hendrickx; Impact of color on the
memory of preschool children (2013), by Ortiz and Cuevas; El color en la psicología (2016),
by Gómez; Psicología del color (2004), by Heller; Psicología del Color (1979), by Martínez
and Análisis de los elementos de la Dirección de Arte en la película La Teta Asustada dirigida
por Claudia Llosa (2018), by Idrogo. As methodology we will use the qualitative
research/creation methodology, exposed by Hernández, Fernández and Baptista, in their text:
Research Methodology (6th Edition) (2014); as well as, what is proposed by Gómez, in: El
análisis del texto fílmico (2006). The films we will analyze are: Alba (2016, Ana Cristina
Barragán); Jojo Rabbit (2019, Taika Waititi); and Chacón maravilla (1982, Camilo Luzuriaga).
The monograph seeks to relate then, the psychology of color and scenography, in order to
cinematically represent the child perspective.
http://dspace.ucuenca.edu.ec/handle/123456789/41525
Cine
Cortometrajes
Escenografía
Mundo infantil, cromática y escenografía aplicados al cortometraje Pintando el Alma
oai:dspace.ucuenca.edu.ec:123456789/252982020-08-03T19:23:01Zcom_123456789_161com_123456789_117com_123456789_33356col_123456789_164
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Sierra Páez, León Lucien
author
2016
The Ecuadorian Cinema and Audiovisual is expanding and growing as an industry. In this framework, this dissertation asks several questions about it, but, mainly: Which is the role of the technical language and which are the tools the actor possesses to develop his/her work? This work also wants to raise discussions in an academic context, from people of acting schools to professional actors.
This thesis begins with an analysis of the theoretical fundaments in the subject. Then, the case study of some spaces and pedagogical practices for actors in Quito, Ecuador is added into the debate. Being the technical language the one that mediates the discussion with a compendium of tools originated previously from the theoretical exploration.
The ultimate intention of this work is the materialization with the reading and application of these theoretical and technical considerations for the use as a practical device by the actors, at the various stages of the professional actor. This material also wants that the actor faces in his training with the reality of a profession that requires much effort and demand of his will, desire and personal resources; considering that in the end there is not much financial compensation, nor even institutional or governmental.
This dissertation wants to raise awareness among actors of their strengths that are confined in their practice and to strengthen a theoretical and technical training to be read and understood by all concerned sectors: critics, politicians, teachers, producers, directors and general public who wish to understand how to make actors their work.
http://dspace.ucuenca.edu.ec/handle/123456789/25298
Cine
Artes Escénicas
Herramientas Para Actores
Métodos De Actuación
Industrias Culturales
Herramientas teorico-técnicas para la construcción del personaje en cine y audiovisuales
oai:dspace.ucuenca.edu.ec:123456789/433552023-11-01T19:27:42Zcom_123456789_161com_123456789_117com_123456789_33356col_123456789_164
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Pacheco Pacheco, José Alejandro
author
2023-10-31
his research proposes to analyze and substantiate the principles of color, the
psychology of color and digital grading to analyze the chromatics of En el nombre de la
hija (2011) by Tania Hermida, and Alba (2016) by Ana Cristina Barragán. For this
analysis we must generate a conceptual basis on the analysis variables. To do this, we
will take Johannes Itten with his book Art de la couleur (1961) as theoretical references,
who familiarizes us with the fundamental problems of color. We will also review the w ork
of Eva Heller in her book Color Psychology: how colors act on feelings and reason
(2004), in which we will observe the cognitive impact of color on people. Finally, we will
explore the results obtained by Lucia Tello in her article: Influence of chromaticism on
film aesthetics: color grading and visual evolution through digital technology (2018). In
order to achieve the proposed objectives, we believe that the optimal qualitative
methodology for reflective work is research on the arts for critical and theorizing purposes
(Hernández Hernández, 2006). This monographic project aims to contribute to university
studies for those students who are looking for an academic reference on color in cinema,
digital color grading and color psychology.
http://dspace.ucuenca.edu.ec/handle/123456789/43355
Cine
Cinematografía
Psicología del color
Color, psicología del color y etalonaje digital en la narrativa de En el nombre de la hija (2011) de Tania Hermida, y Alba (2016) de Ana Cristina Barragán
oai:dspace.ucuenca.edu.ec:123456789/418872023-05-16T20:01:20Zcom_123456789_161com_123456789_117com_123456789_33356col_123456789_164
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Curimilma Macas, Orlando Alexander
author
2023-05-09
This research proposes to analyze the use of lighting and color as support for the emotional
expression This research proposes to analyze the use of lighting and color as support for the
emotional expression of Fernando, main character of the short film "¿Y Amelia?"; work that will
serve as support to demonstrate the combination of these elements on the emotional state of
the actor, based on the concepts of management and understanding of lighting theorized in the
book "Light in Cinema" by Jacques Loiseleux (2004), and color in cinema by Andrea Echeverri
Jaramillo (2012).The methodology employed is qualitative, and, specifically with a
research/creation approach (Hernández Hernández, 2006, 13, 19 and 29; 2015; Carreño,
2014). The film analysis of the films Taxi Driver (1976) by Martin Scorsese, Rojo (1994) by
Krzysztof Kieślowski, Días de Santiago (2004) by Josué Méndez is carried out. With this
research and the photographic proposal for the short film, it is expected to make a significant
contribution to the understanding and precise handling of colors and shadows in the
cinematographic universe, giving the importance of lighting and color, not only as an aesthetic
value, but also that these elements have semiotic content in the narrative field.
http://dspace.ucuenca.edu.ec/handle/123456789/41887
Cine
Cortometraje
Iluminación
Iluminación y color: expresión emocional del personaje protagonista en el cortometraje Y Amelia
oai:dspace.ucuenca.edu.ec:123456789/366232021-08-10T22:55:26Zcom_123456789_161com_123456789_117com_123456789_33356col_123456789_164
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Gómez Espín, Francisco Santiago
author
2021-08-10
Within this research it is proposed to recemantize religious paintings from a gender perspective using the video-installation format to create the work "Las más puras". The
question arises: How can religious paintings be resemanticized through a queer gaze in
search of a cinema that strips away its classic narrative characteristics and takes concepts from expanded cinema? In order to begin to answer this question, it is necessary
to cite the following references, which will be an essential part of this research: Gene
Youngblood (1970) who theorizes and proposes a cinema that can be consumed by an
expanded consciousness, departing from the traditional concept of production, distribution and cinema consumption; Judith Buttler (1995) an important contemporary philosopher who has made several academic contributions on queer theory, that we will also
question with practices and theories that oppose the conceptions from the academy
about gender and bodies. We will also study the Quito School and its historical context
that has been studied by Alexandra Kennedy (2007). This research involves an applied
qualitative methodology, its directed by a descriptive, qualitative and deductive system,
its objective is developing a thoric reference boundary composed by concepts, techniques and esthetics that can help to reach the main objective that consists of carrying
out the pertinent theoretical research and translating it into the planning of the video installation as production final where, starting from the resemantization of said paintings
from a gender perspective, working with it the visibility of sex-generic diversities and to
question the life models imposed by religion from reintroduced aesthetic elements.
http://dspace.ucuenca.edu.ec/handle/123456789/36623
Cine
Audiovisuales
Video
Resemantización de pinturas religiosas desde un enfoque de género: videoinstalación “Las más Puras”
oai:dspace.ucuenca.edu.ec:123456789/224752020-08-03T19:23:02Zcom_123456789_161com_123456789_117com_123456789_33356col_123456789_164
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Erazo Proaño, Yesenia Jazmín
author
2015
The work of an actor in an audiovisual project is of utmost importance, the viewer identifies and gets excited with the actor’s actions. An audiovisual project transmits many things, among them emotions; every spectator is free to feel and get excited with whatever they choose, but the actor is obligated to be real and transmit. Not with this goal in mind, but with authenticity and being natural.
It’s possible that a viewer does not understand acting technique, but they do understand and comprehend when something appears real, and it’s like this that they manage to empathize with the piece and even more with the character. There are different ways of transmitting emotions, it could be verbally or silently, it could be through a gaze or through sounds; but undoubtedly every audiovisual project transmits and excites whoever is watching.
Acting is not about faking, to transmit emotions to the viewer, the last thing that must be done, is fake something. An actor must achieve to excite on his own, without the need of forcing sound or cinematography to support them, by being natural and living a reality within fiction. When an actor manages to feel for real, they will transmit the same; which means that every viewer will understand the same and share the feeling.
http://dspace.ucuenca.edu.ec/handle/123456789/22475
Actuacion
Espectador
Cine Ecuatoriano
Lenguaje Verbal
Personajes Reales
Lenguaje No Verbal
Melodrama
Psicologia Del Actor
Comedia
Actor Ecuatoriano
Television
Metodos Actorales
Los fracasados: el actor de cine en el Ecuador, como creador y transformador de emociones en el espectador
oai:dspace.ucuenca.edu.ec:123456789/362842021-08-12T13:40:00Zcom_123456789_161com_123456789_117com_123456789_33356col_123456789_164
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Marin Siranaula, Andrés Daniel
author
2021-05-31
Over time, the digitization of sound in cinema using technological devices has allowed new
audiovisual expressions such as video-installations that appeal to the audience. This
monograph is a theoretical investigation about the sound construction of the video-installation
based on the tableau vivant “Las Más Puras”. Part of the said sound design is the resignification
of Catholic symbols. This investigation has its theoretical base on Michel Chion and Walter
Murch. They suggest different tools and means that allow achieving a correct foundation for a
sound design. The conceptualization of this theorists and filmographic analysis will allow this
investigation to identify the appropriate sound resources that should be used for the narrative,
aesthetic and dramaturgical construction of the sound design of “Las Más Puras”. The purpose
of this investigation is to be a reference for future research in sound and video -installation,
because there are no studies or proposals in experimental cinema and experimental sound in
the academic field of film and audiovisuals.
http://dspace.ucuenca.edu.ec/handle/123456789/36284
Cine
Audiovisuales
Video
Construcción sonora para la video-instalación basada en el tableau vivant “Las Más Puras”
oai:dspace.ucuenca.edu.ec:123456789/438162024-02-09T14:34:32Zcom_123456789_161com_123456789_117com_123456789_33356col_123456789_164
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Castro Santander, Paulo Renato
author
2024-02-08
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
http://dspace.ucuenca.edu.ec/handle/123456789/43816
Cine
Cinematografía
Cine contemporáneo
Género cinematográfico
Cercanías y distancias entre el videoarte y el cine experimental en la obra de Miguel Alvear
oai:dspace.ucuenca.edu.ec:123456789/242122020-08-03T19:23:02Zcom_123456789_161com_123456789_117com_123456789_33356col_123456789_164
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Alvarez Armijos, Diego Fabián
author
2016
This research analyzes some aspects of film production in order to visualize the process for make a film, particularly in the case of the short film "Encajes" whose production record can observe different stages, progress, difficulties and challenges.
Film production in Ecuador compares and analyzes their differences and similarities to meet the challenges of production between Latin American countries like Argentina and Colombia, in order to have an objective view of the true picture in our country and in our city, to make a film production.
The methodology used in addition to the literature review was the direct observation and recording of the daily production of the film in order to obtain sufficient material for analysis described.
The conclusions we reach allow us to deduce that while the challenges posed by a production team are the same in our country or anywhere else in the world, the environment and the characteristics of each place situations determine how to comply.
http://dspace.ucuenca.edu.ec/handle/123456789/24212
Produccion Cinematografica
Pre Y Pos Produccion
Cine
Productor
Rodaje
Los retos del productor para realizar un proyecto cinematográfico: caso práctico "Encajes" Cuenca
oai:dspace.ucuenca.edu.ec:123456789/18182020-08-03T19:23:03Zcom_123456789_161com_123456789_117com_123456789_33356col_123456789_164
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Jiménez, Gonzalo
author
2011
http://dspace.ucuenca.edu.ec/handle/123456789/1818
Cineficacion
Teatro
Don Juan Tenorio
Tecnicas De Cine
Audiovisual
Tecnica De Cinematografia
Cineficación del teatro. Sobre la inclusión del lenguaje y técnicas cinematográfica, en la propuesta del montaje teatral Don Juan Tenorio
oai:dspace.ucuenca.edu.ec:123456789/364042021-06-28T15:39:20Zcom_123456789_161com_123456789_117com_123456789_33356col_123456789_164
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Crespo González, Stalin Andrés
author
2021-06-28
This monograph seeks to study the aesthetics of American marvellous realism, as well as to
differentiate the labels of magical realism and the marvellous real and to analyze its
aesthetic characteristics through films that use this resource as a proposal for a mise-enscène. The main authors we will take are: Camayd-Freixas with Realismo mágico y
primitivismo (1998), Alicia Llarena with Claves para una discusión: El "Realismo mágico"
y "Lo real maravilloso americano" (1996) and Irlemar Chiampi with O realismo
maravilhoso americano. Forma e Ideologia no Romance Hispano˗Americano (1980) whom
give solid arguments regarding magical realism, the Real American Marvellous, and
American Marvellous Realism, respectively; likewise a brief review is given on Latin
American cinema with respect to such aesthetics with information provided by José María
Paz in Escritores de cine. Nuevo cine y nueva narrativa latinoamericana (2000) and by
Pedro Aguayo de Hoyos with Alejo Carpentier en el cine latinoamericano (2019); we also
study the concept of mise en scène both with El cine y la puesta en escena (2013) by
Jacques Aumont, and in the doctoral thesis El regreso de la puesta en escena
cinematográfica como concepto teórico en los inicios del siglo XXI (2018), made by
Miguel Navarro de Palencia, where he summarizes and compiles several authors and books
with respect to Jacques Aumont's term. The methodology with respect to filmic analysis we
make use of Seymour Chatman's method History and Discourse. The narrative structure in
the novel and in the cinema (1990) that proposes a line of analysis of both form and
substance of content, which we apply on three films where the aesthetics of marvellous
realism is also treated. This study demonstrates the versatility of marvellous realism as an
aesthetic proposal for a mise-en-scène, as well as providing theoretical information on this
subject for all Latin American cinema
http://dspace.ucuenca.edu.ec/handle/123456789/36404
Cine
Audiovisuales
Película
Artes escénicas
La estética del realismo maravilloso americano en la puesta en escena del mediometraje Marfova
oai:dspace.ucuenca.edu.ec:123456789/402082022-11-17T17:12:50Zcom_123456789_161com_123456789_117com_123456789_33356col_123456789_164
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Salinas Pérez, Alison Marcela
author
Zeas Uyaguari, Paul Sebastián
author
Coronel González, Daniela Estefanía
author
2022-11-09
The cinematographic project for the short film
Habita consists of three units: the production folder
and the individual essays for each area. The first
component contains the permits, plans, final script and
proposals for each creative area, which will be supported
theoretically in the second section, under the themes
of: Direction proposal: transsexuality and its context
(2010-2020) in the Ecuador, by Alison Salinas Pérez,
under the study of the following texts: The importance
of directing actors in the cinema (2020), by Ana Lucía
Jeri; Women film directors: A challenge, a hope (2010),
by Trinidad Núñez Domínguez; Study of life stories of
transsexual people for the creation of characters for
a play (2021), by Pablo Valdivieso; Systematization of
the production process of an LGBTI-themed short film
(2019), by Rosibel Nivicela; Film director's manual
(2007), by Leonardo Polverino; Speech and Society
(2009), by Neila Pardo; and, In search of a look:
Visual Anthropology and Ethnographic Cinema (2012),
by Elisenda Ardevol. Photographic proposal: use of
natural light as a narrative element, by Paul Sebastián
Zeas, inspired by the analysis of the following literary
works: Lighting in the cinema as an expressive resource
(2014), by Alcañiz Iris; Light as an expressive element
of audiovisual narrative (2002), by Begoña Gutiérrez;
Theory and use of color (1985), by Luigina De Grandis;
The vision of the filmmaker (2011) by Gustavo Mercado;
The cinematographic framework (1997), by Donique
Villan; and The Language of Cinema (2002), by Marcel
Martin. and, Art Direction: Visual Style and Dramatic
Progression in the Habita Project, by Daniela Coronel,
who studies her proposal with the following texts: El Arte
Cinematográfico (1995), by David Bordwell and Kristin
Thompson; Film set design (2011), by Mónica Gentile,
Rogelio Díaz and Pablo Ferrari; The set design in the
cinema, the art of appearance (1999), by Félix Murcia;
Theory and use of color (1984), by Luigina De Grandis;
Audiovisual Narrative (1994)¸by Jesús García Jiménez;
The language of cinema (2002), by Marcel; The poetics
of space (2002), by Gastón Bachelard; and, The space
in the cinematographic story, analysis of the spaces in a
film (1998), by María del Rosario Neira Pinero. All these
studies, background and film analysis will be applied
in practice during the shooting of the short film and
its subsequent analytical monograph. Finally, the third
module is the short film. Following the research method
from and for the arts, or based on artistic practice
(Hernández Hernández, 2006). The central finding of the
project is to create a complete atmosphere that helps us
understand the characterization of a character in all its
dimensions and these are reflected in the photographic
and artistic language of the audiovisual product.
http://dspace.ucuenca.edu.ec/handle/123456789/40208
Cine
Fotografías
Luz
Estilo
Realización, exhibición y reflexión teórica del cortometraje Habita
oai:dspace.ucuenca.edu.ec:123456789/297432019-10-01T16:18:30Zcom_123456789_161com_123456789_117com_123456789_33356col_123456789_164
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Narváez Calderón, Christian Esteban
author
2018-03
The current investigation has as purpose to stablish the factors and procedures, that allows the screenwriter, through an objective analysis of the information, to develop an adaptation procedure from real events to the fiction screenplay, using as example the case of the short movie Implicados. This procedure can be used as a referent for writing the screenplay, create the characters, the settings and the actions.
http://dspace.ucuenca.edu.ec/handle/123456789/29743
Cine
Guion Cinematografico
Cortometraje
La adaptación de un hecho real al guion cinematográfico en el cortometraje “Implicados”
oai:dspace.ucuenca.edu.ec:123456789/402062022-11-11T14:31:20Zcom_123456789_161com_123456789_117com_123456789_33356col_123456789_164
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Arias Agila, Pablo Andrés
author
Alvarado Vásquez, María Belén
author
Suing Mendieta, José Augusto
author
2022-11-10
This short film project entitled por si me pierdo y crepito en polvo has two components: the
production folder and the individual theoretical essays by area. It is worth mentioning that the
production folder establishes the structure in which memory and spaces come together and express
a sense of belonging, in the first essay entitled "Dissemination plan for the experimental film project
por si me pierdo y crepito en polvo", the second essay "Poetics and voluntary memory of space in
the project por si me pierdo y crepito en polvo" and finally the essay "Architecture and sound
memory in the project por si me pierdo y crepito en polvo" will establish the parameters in which
we worked to achieve the proposed objectives
http://dspace.ucuenca.edu.ec/handle/123456789/40206
Cine
Personajes
Cortometraje
Sonido
Realización, exhibición y reflexión teórica del cortometraje. Por si me pierdo y crepito en polvo
oai:dspace.ucuenca.edu.ec:123456789/415422023-03-29T15:12:25Zcom_123456789_161com_123456789_117com_123456789_33356col_123456789_164
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Heras Cueva, Simonné
author
2023-03-28
The art of cinema is sustained by the efforts of a whole technical team that works behind an
audiovisual project; It is the artistic contribution of these people that counts when telling a story
through images and, for the project to come to an end, the teams working on a film or short
film need a leader who facilitates processes such as recording or the level of experimentation
that is handled in creation. This project dives into the role and requirements of a Film Director
as a leader of the creative process, addressing his contribution from the approach of the
fictional literary script to the completion of a high-quality audiovisual product. The in-depth
study of this role and needs also sustains the construction of a direction proposal designed for
its application in the short film Café para dos. To meet these goals, the methodological
approach of research/creation was used, as well as and complemented by a bibliographical
review and analysis of the proposals for directing the films: Eternal sunshine of the spotless
mind (2004) by director Michel Gondry, with emphasis on its script and staging from the
direction point of view; A ghost story (2017) by David Lowery, considering the staging and
narrative; Finally, fragments of the miniseries The Queen ́s gambit (2020) directed by Scott
Fran were taken into account, in which case specific sequences were chosen that helped
develop the proposal for short film Café para dos. The research and systematic proposal in
this paper sought to contribute to future film students having clear guidelines regarding the
role played by a director in these projects.
http://dspace.ucuenca.edu.ec/handle/123456789/41542
Cine
Dirección cinematográfica
Proceso creativo
El rol de la directora en el proceso creativo del cortometraje Café para dos
oai:dspace.ucuenca.edu.ec:123456789/234352020-08-03T19:23:05Zcom_123456789_161com_123456789_117com_123456789_33356col_123456789_164
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Arízaga Jarrín, Andrea Paulina
author
2015
It’s inevitable to encounter a conceptual and philosophical border between fiction and documentary. But then again, it would have been impossible for them to develop without relying on one another in order to expand their formal and expressive possibilities. Thanks to a long process of metamorphosis, contemporary documentaries challenge the classical modalities through new ways of filmmaking. The hybrid is the name given by theorists and critics to this wave of innovative documentary proposals, where reality and fiction conspire together towards finding alternative truths. This study will explore the evolution of documentary film alongside with fiction films in order to write the script for the hybrid documentary Pequeña América.
http://dspace.ucuenca.edu.ec/handle/123456789/23435
Cine
Documental
Guion
La escritura del guion documental: definiendo la frontera entre ficción y realidad a propósito de la escritura del documental pequeña América
oai:dspace.ucuenca.edu.ec:123456789/224802020-08-03T19:23:06Zcom_123456789_161com_123456789_117com_123456789_33356col_123456789_164
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Carrillo López, Esteban Santiago
author
2015
Clearly whenever we watch a movie or television series, what we want is to be told a story. The stories at our disposal are infinitely diverse, but they all fall within two categories depending on the approach they take over the plot: they can either be high concept or low concept. In this text the differences between the two categories is explained, how and why high concept encompasses stories that emphasize plot, while low concept stories emphasizes the inner feelings of characters. The historical difference of the two styles is exposed, as well why this is an extension of patriarchy within the world of entertainment. The importance of characters to any story is also touched upon and why some characters, depending on the mode of their creation, can be perceived as real people by audiences that have become fully involved. It is also explained how television can create these characters at a higher rate due to letting the audience spend much more time with the characters. Finally, the process of creating the characters for Los Fracasados is discussed, and how the actors had a defining role in the process of shaping them as real people.
http://dspace.ucuenca.edu.ec/handle/123456789/22480
Personajes
Television
Historias
Guion
Actuacion
El bajo concepto y la creación de personajes reales en el guión de Los Fracasados
oai:dspace.ucuenca.edu.ec:123456789/241012020-08-03T19:23:28Zcom_123456789_161com_123456789_117com_123456789_33356col_123456789_164
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Sánchez Ordóñez, Sebastián Marcelo
author
2015
The SplitScreen is a visual resource,its main attraction is to exhibit two or more spaces of video while they are simultaneously playing. These spaces are organized within the original movie screen, video or any audiovisual production, ie, they share a similar cinematic space. This organization is fully associated to an earlier postproduction or editing process.
Since its introduction, the split-screen was used to visually associate people in a phone call, this would become its most frequent application, however, over the years, other uses of the resource have been generated, which with its particular narrative and graphic aesthetic property has renewed the cinematic language.
STEREO is a short film written and directed by Leonardo Espinoza and Sebastián Sánchez, its main visual attraction is established with the full implementation of the split-screen technique, this is complemented with the basis of the story, an allegory that corresponds to the matches. The protagonists are unaware of their physical contiguity, but the viewer is the unique witness of their latent emotional correlation.
http://dspace.ucuenca.edu.ec/handle/123456789/24101
Stereo
Cortometraje
Pantalla Dividida
Montaje
Postproduccion
A doble cuadro: montaje en dos situaciones
oai:dspace.ucuenca.edu.ec:123456789/367852021-09-21T19:48:03Zcom_123456789_161com_123456789_117com_123456789_33356col_123456789_164
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Potosí Moya, Joselynne Antonella
author
2021-09-16
This monograph proposes to study the mechanisms of diffusion and exhibition of the
expanded cinema circuit in the video installation Las más puras. The theoretical point of
view from which we work includes concepts about video environments by Gene
Youngblood (2012); the video installation as a relationship between spectator, video and
space, where the journey must create that experimental experience integrating all the
elements that exist in the work according to the concepts of Andrea Canepa (2008) and
texts that propose a reflection on audiovisual language, the new technological supports
and new spaces for its diffusion, according to Jorge la Ferla (2007). For the analysis of
the video installation and the film, we use Leavy’s (2009) arts based research which
consists of carrying out a theoretical investigation and translating it into a proposal for
dissemination in the expanded cinema circuit based on an investigation of case analysis
of video installations and models of diffusion and exhibition in national and international
meetings. Based on the above, given that this topic has a short history, this work
constitutes a first approach to new spaces dedicated to expanded and independent cinema
that we hope will be useful for its development in Ecuador
http://dspace.ucuenca.edu.ec/handle/123456789/36785
Cine
Audiovisuales
Documental
Video
Estrategias de difusión en el circuito del cine expandido en la video instalación: “Las más puras”
oai:dspace.ucuenca.edu.ec:123456789/392232022-07-06T15:26:55Zcom_123456789_161com_123456789_117com_123456789_33356col_123456789_164
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Cofre Taipe, Jefferson Israel
author
2022-06-22
The present research aims to study some of the Andean myths and legends,
with the purpose of including some of their elements and characters in the serial
script Cafetería de leyendas, the theoretical framework on which we will theorize our
proposals includes the concepts of the adaptation of myths and legends in the
audiovisual media, analyzing the films made with Andean mythology, these concepts
are contributed by Laura Collin (1999), Patricia Restom (2003) and Luis Reino
(2012). Our research question is: What is the capacity of a serial to reconstruct,
redesign and adapt myths and legends, coming from the Andean oral transmission
and that has an impact on today's society? Based on the above, our research will be
a bibliographic review, film analysis, and application of the research to the script of
the proposed serial
http://dspace.ucuenca.edu.ec/handle/123456789/39223
Cine
Tradición oral
Literatura folklórica
Guion serial
Mitos y leyendas andinas aplicados al guion del serial Cafetería de leyendas
oai:dspace.ucuenca.edu.ec:123456789/419642023-05-30T16:06:33Zcom_123456789_161com_123456789_117com_123456789_33356col_123456789_164
00925njm 22002777a 4500
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Gómez Gómez, Mercy Alexandra
author
2023-05-25
Thisstudytitled "Thesound and thegenre of comedy: studyappliedtothe short film Locura
pastelera" as a general proposal, establishes and formulatestherelationshipsbetweensound
and comic situationstoapplythemtothe short
film Locura pastelera.
Thetheoreticalframeworkismade up of theseauthors Silvia Marcé, Teresa Delgado, Marta
Fuente: Thesoundtrack of ourlife, (2018); Music and sound in audiovisuals (2013), by Josep
Gustems; Music and sound in audiovisuals (2012); The comic in the caricature: ananalysis
of Bergson and Baudelaire (2012), by Paula Jessurum; Humor in the cinema (2009), by
Lucio Mallada; and Thesoundimaginary of theAndalusianchildpopulation: musical analysis of
«La Banda» (2010), by Almudena Ocaña and Luisa Reyes. Themethodforitsexecution has
beenthat of creationresearch (Hernández Hernández, 2006, 13, 19 and 29; 2015; Carreño,
2014). Thepresence of sound in the comic short film Locura pastelera (2022), by Fabián
Bravo isessentialtoachieveitscomedy, sincetheelements of thesoundtracksuch as: music,
soundeffects, ambientsound and Foley; They are theoneswhohelpaccentuatethe humor.
http://dspace.ucuenca.edu.ec/handle/123456789/41964
Cine
Comedia
Audiovisuales
El sonido y género de comedia: estudio aplicado al cortometraje Locura pastelera
oai:dspace.ucuenca.edu.ec:123456789/234222020-08-03T19:23:34Zcom_123456789_161com_123456789_117com_123456789_33356col_123456789_164
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Castillo Quinteros, Rafael Sebastián
author
2015
The rising tide of technological advance has triggered the individualization of content. Where the viewer is free to view any type of material through the Internet. On the other hand, this progress has allowed the viewer to enjoy an increasingly immersive experience with 3D cinemas and multichannel sound systems. Hence the question, how to allow the audience to hear what cinema offers, while watching a movie on a computer.
Proposing the use of stereo recording techniques in a short film to work the hypothesis. Which it is intended to enhance the sound spatiality and the amount of information received by the viewer. Later on a review of the sound history in cinema, reviewing trends from different eras that marked the style and way of making films for many directors. They are considered as the basis for the hypothesis of this paper. Finally the results of the shooting of the film Tienda Don Augusto (Tienda) throughout the creative process are treated, from pre-production to assembly and final mix.
http://dspace.ucuenca.edu.ec/handle/123456789/23422
Cardioide
Cine
Diseño Sonoro
Dogme 95
Estereofonia
Microfono
Naturalismo
Sonido
El sonido ambiente: técnicas y aplicación al cortometraje Tienda Don Augusto
oai:dspace.ucuenca.edu.ec:123456789/402462022-11-16T16:24:28Zcom_123456789_161com_123456789_117com_123456789_33356col_123456789_164
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Ullauri Matute, Antonella del Rocio
author
Cano Moncada, Yusmery Ambar
author
Calle Veintimilla, Ana Paula
author
2022-11-15
This film project for the short film "Las Flores de la Abuela" has two components: the
production folder and the individual essays by area. The production folder contains all
aspects related to the technical and creative part of the audiovisual project. On the one
hand, the essay Direction: Interpersonal Relationships and Performance for the project
"Las Flores de la Abuela" focuses on the importance of the work environment in the preproduction and production of a short film. On the other hand, Art Direction's essay " Use
of color palettes " in the film project "Las Flores de la Abuela" conducted a theoretical
study on the use of color palettes in gloomy scenarios. Furthermore, the Direction of
Photography's essay "Identity of shots and suspense" for the project "Las Flores de la
Abuela" focuses on the investigation of the identity of shots in a film genre. The film
genre, in this case, is the suspense genre, obtaining as a result that the cinematographic
shots have their audiovisual language to tell a story. In this case, the subjective
shot/picture is one of the most distinctive for the suspense-terror genre due to the
psychological tension that the viewer feels when watching it since it is the only moment
in which he feels part of the film
http://dspace.ucuenca.edu.ec/handle/123456789/40246
Cine
Cortometraje
Artes escénicas
Realización, exhibición y reflexión teórica del proyecto. Las flores de la abuela
oai:dspace.ucuenca.edu.ec:123456789/239672020-08-03T19:23:34Zcom_123456789_161com_123456789_117com_123456789_33356col_123456789_164
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Mosquera Figueroa, Jimena Carolina
author
2015
The Latin American audiovisual landscape is relative to regarding the quality and quantity of productions that take place in each country. These depend exclusively on the evolution of the industry in each of them. However within the Ecuadorian context we can identify a key problem: Boom films that have found no viability in commercial cinemas or festivals of national and international cinema. Which shows many complications, which are consumed in the need for a key figure as the creative production.
This is essential to be involve in the work from the beginning, the development of the idea, and the end of production. Creatively contributing from its area depending on the purpose of the film. Production with empirical notions and the recent professionalization in the field of cinema in the country, have made films that are constructed with a fuzzy concept of production. Because of confusion about the role of producer, different views are presented from the Latin American scene and specifically from Ecuador. Based on parameters and responsibilities to be met by the creative producer, the responsibility to the environment work, responsibility and accountability with the audience with the film.
Finally the daily production project Sudden Death where each stage of the productions failures and successes regarding the creative output is identified within the projects analysis.
http://dspace.ucuenca.edu.ec/handle/123456789/23967
Produccion Ecuatoriana
Cinematografia
Pelicula
Muerte súbita: la producción creativa como un rol fundamental
oai:dspace.ucuenca.edu.ec:123456789/231502020-08-03T19:23:35Zcom_123456789_161com_123456789_117com_123456789_33356col_123456789_164
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Peralta Báez, Marco Andrés
author
2015
The following thesis is about the tension that an actor feels inside their body and finally involves his external body itself, specifically in the case of this investigation the facial expressions of the actor.This thesis goes deep on the process that an actor has to follow for achieve an state that lead him be himself freely with the character of the fiction and at the same time be true to himself as a person.
The thesis has tree stages that involved the development of a calm and sane mind that follows a relaxed body, which finally allow the actor enter the character.
The first stage explores the bioenergetics the concept developed by a psychiatrist named Wilhelm Reich and the studies that Lowen one his disciples explored in the last century. This explains all the psychological items that affect the body, breading and action of it.
The second stage explores the physicality of the actor and the work of the auteurs like Grotowski and Eugenio Barba. This stage wants to understand the body from the acting perspective, not just his relaxation but also his impact n the work of the actor.
The last stage in the investigation is the application of these theories of body exploration on the actor of the short “Tienda Don Augusto”, and his following trough the acting process, to see the results.
http://dspace.ucuenca.edu.ec/handle/123456789/23150
Rostro
Actuacion
Relajacion
Conciencia y eliminación del exceso de tensión del rostro de una actor en los primeros planos. Seguimiento y preparación del actor del cortometraje: Tienda don Augusto
oai:dspace.ucuenca.edu.ec:123456789/146452020-08-03T19:23:35Zcom_123456789_161com_123456789_117com_123456789_33356col_123456789_164
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Novillo M., Henry
author
2005
http://dspace.ucuenca.edu.ec/handle/123456789/14645
Audiovisual
Produccion
Filmacion
Postproduccion
New Pork
Tesis En Cine Y Audiovisuales
New York tras cámaras
oai:dspace.ucuenca.edu.ec:123456789/257122020-08-03T19:23:36Zcom_123456789_161com_123456789_117com_123456789_33356col_123456789_164
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Villamar Rivas, Diana Pilar
author
2016
Production design, in Ecuador is art direction in film and it involves several different areas such as scenery, setting, props, and characterization (costume, hair and makeup). These roles attend the neatness of the image within the cinematic industry. Apart from aesthetics, image has also the potential to support the dramatic sub-textual lines. The metaphorical and sub-textual level that has been routed in this paper focuses on the development of building credible atmospheres and dramatic spaces parallel to the pictorical narrative short sketches. The art direction characterized by the symbolic power of suggestion with every decision about shape or color within the composition of a frame. In Ecuador, and the author´s personal experience, lack of film production has led to create fiction in a mass distribution platforms such as the internet. Through this work, and with national and international film and television references, art direction is to be analyzed in five sketches of the first season of Enchufe.tv, Touche Films channel in Youtube web platform, and how it influences to capture attention and generate emotions in short time.
http://dspace.ucuenca.edu.ec/handle/123456789/25712
Cine
Arte
Sketch
Audiovisuales
Escenografia
Plataforma Web
Cinematografia
Produccion
Enchufe TV: la atmósfera dramática. Estética de cinco minutos
oai:dspace.ucuenca.edu.ec:123456789/252532020-08-03T19:23:37Zcom_123456789_161com_123456789_117com_123456789_33356col_123456789_164
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Velarde Mosquera, Andrea Cristina
author
2015
This thesis aims to analyze the relationship of film sound design and the creation of subtext in movies. We proceeded to deconstruct the sound design of a series of film sequences, to identify its various elements, especially the sound effects and backgrounds, and understand the contribution of these to the creation of subtext.
This thesis makes an inquiry into the sound construction of films, especially of two elements: ambience sounds, or backgrounds, and sound effects. These two elements are commonly used in creating soundtracks, but here, we explore their ability to create a special relationship with the viewer and the help they provide into perceiving the subtext of the film.
The proposed hypothesis intends to prove or deny that the sound effects and backgrounds have the ability to create feelings in the viewer, and that they can work outside the conscious level of sound perception.
In order to explore this hypothesis, multiple sequences of movies that have gained international recognition for their quality were decoded; this analysis was then contrasted with the collective perception of sound effects and backgrounds, by conducting a focus group.
http://dspace.ucuenca.edu.ec/handle/123456789/25253
Cine
Sonido En El Cine
Subtexto
Diseño De Sonido
Efectos y ambientes sonoros como herramientas del subtexto en una obra cinematográfica
oai:dspace.ucuenca.edu.ec:123456789/240472020-08-03T19:23:37Zcom_123456789_161com_123456789_117com_123456789_33356col_123456789_164
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Carrión Parra, Pablo Hernán
author
2016
This research aims to establish factors and procedures for the Cinematographer through light, color, form and content, can develop a photographic frame, constantly restructuring, as is the case Involved short film, which based on the use of the sequence level. Further comprises a clear process that will serve as a basis for developing the photographic framing and composition together with the actions of the characters and locations.
http://dspace.ucuenca.edu.ec/handle/123456789/24047
Cine Y Audiovisuales
Guion Cinematografico
Plano Secuencial
Implicados
Composición del encuadre fotográfico en la película Implicados
oai:dspace.ucuenca.edu.ec:123456789/239732020-08-03T19:23:38Zcom_123456789_161com_123456789_117com_123456789_33356col_123456789_164
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Vallejo Chávez, Víctor Alfonso
author
2015
The screenplay is a tool that allows to develop other roles in the work of film, thanks to this guide a story begins to have picture, sound and color. There is so much talk about the iron script or even books of famous writers who give prescriptions to become able to write stories that stand by themselves, stories that surely must be rewritten again and again to reach a digestible version for the entire team.
This thesis develops the process of writing of HISTORIA UNO short film from the conception of the idea until -of course, the final version, characters creation, atmosphere, tone and the situations that arise in the story, based on some concepts of the screenwriting manuals.
http://dspace.ucuenca.edu.ec/handle/123456789/23973
Guion
Cinematografia
Historia uno: el guion y los personajes
oai:dspace.ucuenca.edu.ec:123456789/411022023-02-27T17:17:54Zcom_123456789_161com_123456789_117com_123456789_33356col_123456789_164
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Arias Rodríguez, Anibal Daniel
author
2023-02-17
This research proposes to study the fiction cinema based on real events of the
Ecuadorian cinematography, as well as the theory and its differentiation between
fiction and reality. For this purpose, two Ecuadorian films have been taken as a
reference, whose concept is based on real events, the first Mi tía Nora (1983), by Jorge
Prelorán and Pescador (2011). Within this work, each of the fictionalization processes
applied by their authors and directors has been studied, in addition to the compilation
of several relevant aspects of cinema based on real events, that is, the proposed
research is approached from theory. We hope that our research topic contributes to
the theory of national cinema and that it can be useful for other research works that
address related topics.
http://dspace.ucuenca.edu.ec/handle/123456789/41102
Cine
Películas ecuatorianas
Ecuador
Cine de ficción basado en hechos reales en dos películas ecuatorianas: Mi tía Nora (1983), de Jorge Prelorán, y Pescador (2011), de Sebastián Cordero
oai:dspace.ucuenca.edu.ec:123456789/239622020-08-03T19:23:40Zcom_123456789_161com_123456789_117com_123456789_33356col_123456789_164
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Tapia Ruiz, José Luis
author
2015
This research is the development of a short film story using the wide shot as the main resource. For the application of this premise in the film "Tienda", an analysis has been done in three parts that refer to the function of the wide shot from its historical and conceptual vision.
In the first part, the directors presented are used from the birth of cinema to the appearance of the foreground scene. The second part of this research focuses on a conceptual photography and poetic analysis of the wide shot. And its narrative possibilities in different social contexts, specifically from the position of two contemporary authors.
The final part of this study goes to practice of the field. Assimilated in the previous analysis presented in the visual planning of the film "Tienda". Using annotations of the creative process of the film. The similarities and assumptions are based on the theory in the first two chapters. Then compare what was planned and the final product. Making the respective conclusions about the use and effectiveness of the overall plan as an element master storyteller.
http://dspace.ucuenca.edu.ec/handle/123456789/23962
Escena
Fotografia
Narrativa
Cortometraje
Cinematografia
El plano general como principal elemento narrativo cinematográfico
oai:dspace.ucuenca.edu.ec:123456789/402072022-11-11T13:44:37Zcom_123456789_161com_123456789_117com_123456789_33356col_123456789_164
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Cueva Armijos, Katherine Paula
author
Rivera Durán, Edison Paúl
author
Torres Sarango, Dereck Patricio
author
2022-11-09
The film project Mauricio en Discordia has three units: the folder of production, three individual
essays per area, and the short film as the final product. The production folder consists of several
sections in which it is intended to introduce certain aspects related to the form of the short film.
The different essays correspond to the areas of direction, sound, and editing: “Narrative treatment
and psychological patterns in the Mauricio en discordia project”, which is studied through the texts
Psychoanalysis and Cinema: The imaginary signifier (1977), by Christian Metz; The narration in
the fiction cinema (1996), by David Bordwell; The Cathartic Phenomenon and Classic Film
Narrative (2004), by Jessica Zepeda Cruz; Psychology of the masses (1921), by Sigmund Freud;
Psychological creation of characters for film and television (2005), by Elena Galán Fajardo; The
character as psychological essence (2016), by Andrea Lozano Silva; Emotional dependence
according to Jorge's theory Castello. A case study (2016), by Deborah Alalú De Los Rios; and the
American Psychiatric Association Book (DSM-5) (2013). The essay entitled "Sound proposal:
management of noise and silence for the film project Mauricio en discordia" is based on the
following texts: Sound: Music, Cinema, Literature (1999), by Michel Chion; The sound, the music
and the noise (2001), by Federico Miyara; and Sound in the cinema: Image and sound: a marriage
of convenience (2007), by Laurent Jullier; Audiovision: An Introduction to a Joint Analysis of
Image and Sound (1993), by Michel Chion; “Silence: the forgotten element in the audiovisual
expression” (2010), by Daniel Torras; and “Silence belongs to sound” (2016), by Carlota Frisón
Fernández. The third theoretical essay, “Creation of suspense, tonal montage and metrical montage
for the Mauricio en Discordia project” is supported by the texts A classic example of
cinematographic suspense (2009), by Lucia Gabriela Landeros; Construction of the scene in
suspense cinema (2018), by Valentina Durán Paredes; The cinematographic suspense: Montage
and temporal organization (2019), Josep Prosper Rives; Cinematographic initiation (1972), by
Amalia Gallardo; Film montage theory (1991), by Vicente Sánchez-Biosca; At the moment of
blinking (2003), by Walter Murch; The cinematographic montage: Artistic Tool (2015), by
Gabriela Garcés Espinoza; Serguei Eisenstein: Assembly of attractions or attractions for assembly
(2016), Luís Fernando Morales Morante. The present theoretical study, which is developed through the research-creation method (Hernández Hernández, 2006, 13, 19 and 29; 2015; Carreño,
2014), has obtained as a central finding that the realization of a film project precisely that the
investigation of its fundamental concepts responds to the demands that are presenting in the
practical field, depending on the development of the cinematographic practice. It is based on a
solid theoretical base that enriches the discourse that is intended to be built.
http://dspace.ucuenca.edu.ec/handle/123456789/40207
Cine
Cortometraje
Dirección
Sonido
Montaje
Realización, exhibición y reflexión teórica del cortometraje Mauricio en discordia
oai:dspace.ucuenca.edu.ec:123456789/234322020-08-03T19:23:40Zcom_123456789_161com_123456789_117com_123456789_33356col_123456789_164
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López Tumbaco, Carmen Johanna
author
2015
The current paper is a research and proposal on the Sound Design of the short film Summer Beats, a story based on a deaf and dumb character who can hear for the first time. This dramatic reason is cardinal for sound to become one of the main agents of the plot, with the final purpose of working the sound story to enhance the inner world of the character.
It started from a retrospective of the history of sound in the movies, and how, through some film makers it has increased its importance in the construction of stories. In the same way, the different ways to internalize the characters; among them, the moments of silence and a pair of audiovisuals defining the presence of a teller and the place where the story is told.
Jointly, a close look to the situation of deafness and the capacity to hear through electronic devises tries to understand and apply this characteristic to a Sound Design in relation to the situation of the main character. The coherence of the proposal which relates photography with sound has served as legacy and films performed by well know sound editors.
Based on this concepts, tools and techniques researched the plot has been used as a tool for Sound Design, since the sound story constitutes a type of cause where reactions towards events related to the sound could determine a decision making process, besides the suggestion of a sound environment could insinuate the mood of the character.
http://dspace.ucuenca.edu.ec/handle/123456789/23432
Audiovisuales
Cine
Narracion
Personaje
Sonido
El diseño de sonido en el cortometraje Summer Beats
oai:dspace.ucuenca.edu.ec:123456789/415362023-03-30T12:19:57Zcom_123456789_161com_123456789_117com_123456789_33356col_123456789_164
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Flores Sánchez, Nathaly Vanessa
author
2023-03-28
The research as finalized aims to establish support tools in the direction of child actors, in this it
is expected to correlate fundamentals of: “technique and exercises of the imagination” of
the American actress and profesor of interpretation, Stella Adler in the book compiled by
Howard Kissel: The Art of Acting (2000), with the book of the American educator Linda Lantieri
titled: child and adolescent emotional intelligence. Exercises to cultivate the inner strength in
children and youth (2009) in its section “Exercises to relax the body and focus the mind for children
ages 8 to 11 years”; through this there will be analyzation of direction and performance of
children’s characters in movies like: Please Don’t Hit Me Mon (Arner, 1981); Voces Inteligentes
(Mandoki, 2005) and El Chacón Maravilla (Luzuriaga, 1982). Finally, the methodology of
“investigation/creation” will be used (Hernandez Hernandez, 2006, p. 13, 19 y 29; Carreño, 2014)
which is based on the theory of cinematography and the artistic experience, with views on
practical application. The result will be evident in the making of the short film Pintando el Alma
(painting the soul) and it will be shown how said support tools proposed for the direction of child
actors worked and how the the fruit of this research will help upcoming audiovisual
productions.
http://dspace.ucuenca.edu.ec/handle/123456789/41536
Cine
Actores
Niños
Herramientas para la dirección actoral infantil aplicado al cortometraje Pintando el Alma
oai:dspace.ucuenca.edu.ec:123456789/359612021-03-29T20:45:18Zcom_123456789_161com_123456789_117com_123456789_33356col_123456789_164
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Gutiérrez Aguirre, Michelle Araceli
author
2021-03-29
This monograph presents a profitable production model for the Ecuadorian short film El
Camino de Solano through the analysis of different production models used in three Latin
American short films. The theoretical perspectives used include the following concepts: the
cinematographic production, taken from the book Producción cinematográfica
(Cinematographic Production) (2012); Johanna López (2019), Cuencan film producer; the
regulation for short films of the Academy of motion Picture Arts and Sciences (2018); and
the profitability guidelines of the Revista española de Financiación y Contabilidad (Spanish
Journal of Financing and Accounting) (2002). The Return on Investments (ROI) metric was
used for the analysis of the profitability on short films, taking as a guide the article Análisis
del ROA, ROE y ROI by Antonio Andrade (2011), of the Universidad Peruana de Ciencias
Aplicadas, adapting it to the particularities of audiovisual production. This study wishes to
propose a profitable production model for the short film El Camino de Solano. This
monograph was thought in response to the lack of academic interest in the financial aspect
of national short films. Because of the health crisis due to the COVID-19 pandemic, the
filming of the short film El Camino de Solano had to be canceled five days before its
commencement, therefore, the focus of this study is mostly theoretical, addressing production
strategies that take into account the precariousness to which the audiovisual sector has
typically been subjected to, which affects filmmaking in general
http://dspace.ucuenca.edu.ec/handle/123456789/35961
Cine
Audiovisuales
Filmación
Cinematografía
Elaboración de un modelo de producción rentable para un cortometraje ecuatoriano, aplicado al caso de El Camino de Solano
oai:dspace.ucuenca.edu.ec:123456789/146372020-08-03T19:23:41Zcom_123456789_161com_123456789_117com_123456789_33356col_123456789_164
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Rodríguez Manzano, José Luis
author
2009
http://dspace.ucuenca.edu.ec/handle/123456789/14637
Cine Y Audiovisuales
Lenguaje Audiovisual
Narrativa Cinematografica
Videoclip
Tesis En Cine Y Audiovisuales
Producción de un videoclip para el grupo de rock la Doble, el lenguaje del videoclip
oai:dspace.ucuenca.edu.ec:123456789/275682020-08-03T19:23:42Zcom_123456789_161com_123456789_117com_123456789_33356col_123456789_164
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Velarde Garcés, María Bethania
author
2017-06
This thesis is based on the inspiration of Ecuadorian painters and their place as state of art, place, influence and tribute in Ecuador. This research has as purpose to understand the value that the painting has given to the cinema, shown in Desde el Taller with the Ecuadorian painter named Jorge Velarde.
This thesis will have three aspects . The first is a brief review of the relationship painting - photography and film . The second is about producing Desde el Taller, a teaser for a documentary series of Ecuadorian painters, reviewing the pre production, the production and post production. The third is the conclusion "From the Workshop" and improve the proposal that manages to be a viable and successful audiovisual project.
http://dspace.ucuenca.edu.ec/handle/123456789/27568
Pintura
Fotografia
Cine
Arte
Pintura Ecuatoriana
Ecuador
Relación pintura – cine, estudio de la propuesta de realización aplicada a: desde el taller
oai:dspace.ucuenca.edu.ec:123456789/419772023-05-30T16:50:36Zcom_123456789_161com_123456789_117com_123456789_33356col_123456789_164
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Parra Guerrero, Erika Fernanda
author
2023-05-23
The main objective of this study, entitled Particularities of executive pre-production in Cuenca
applied to the short film ¿Y Amelia? is to establish and formulate the particularities of executive
pre-production in the city of Cuenca in order to apply them to the pre-production of the short film
Y Amelia? The theoretical framework is formed by Producción ejecutiva de proyectos
cinematográficos (2015), de Alejandro Pardo. Arte y gestión de la producción audiovisual
(2012), de Santiago Carpio Valdez, and Manual básico de producción cinematográfica (2014),
de Martha Orozco y Carlos Taibo. Likewise, the state of the art is based on the analysis of the
production proposals corresponding to: Muerte súbita: la producción creativa como un rol
fundamental (2015), by Jimena Mosquera Figueroa, Carpeta de producción de Summer Beats
(2015), by Johanna López et al., and Los retos del productor para realizar un proyecto
cinematográfico: caso práctico "Encajes" Cuenca (2016), by Diego Álvarez Armijos. The
method for its execution is research-creation (Hernández Hernández, 2006, 13, 19 and 29;
2015; Carreño, 2014). The study of the pre-production of the short film ¿Y Amelia? is
fundamental to understand the development of the different stages of the film and the
consequences of the planning in each technical, artistic, social or economic aspect.
http://dspace.ucuenca.edu.ec/handle/123456789/41977
Cine
Cortometraje
Cantón Cuenca
Particularidades de la preproducción ejecutiva en Cuenca aplicada al cortometraje ¿Y Amelia?
oai:dspace.ucuenca.edu.ec:123456789/417862023-04-28T16:53:30Zcom_123456789_161com_123456789_117com_123456789_33356col_123456789_164
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Pineda Quezada, Adriana Gabriela
author
2023-04-28
This research proposes to study the dramatic evolution of the protagonist for the construction of
scenographies in terms of props, costumes and atmospheric color palette, which allow setting the
conflicts and evolution of the dramatic arc of the protagonist in the short film ¿Y Amelia? For this
I will base myself on the concepts of artistic department, pictorial space, filmic space and
realization techniques theorized by Mónica Gentile, Rogelio Díaz and Pablo Ferrari in the book
Escenografía Cinematográfica (2011). For the color palette and textures I will rely on concepts
imposed by Eulalio Ferrer in the book Los languages Del color (1999). To analyze the dramatic
evolution of the character, I will analyze the concepts handled by David Corbett in the book The
Art of Creating Characters: In Narrative, Film and Television (2018). The methodology will be
qualitative, and, specifically, research/creation (Hernández Hernández, 2006, 13, 19 and 29;
2015; Carreño, 2014). Film analysis will be made of the following films: Jojo Rabbit (2019) by
Taika Waititi, Sin otoño, sin primavera (2012), by Iván Mora Manzano, and Metropolis (1927) by
Fritz Lang. The innovation of my project will try to make the scenographies comply with the visual
identity of the short film ¿Y Amelia? The bibliography on film theory and praxis in Ecuador will
receive a contribution with our work.
http://dspace.ucuenca.edu.ec/handle/123456789/41786
Cine
Escenografía
Cortometraje
Propuesta escenográfica y evolución dramática del protagonista en el cortometraje “¿Y Amelia?”
oai:dspace.ucuenca.edu.ec:123456789/219482020-08-03T19:23:42Zcom_123456789_161com_123456789_117com_123456789_33356col_123456789_164
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Albarracín Carmona, Christian Fernando
author
2015
This project develops the approach, production and assembly of a suitable proposal for the sound of a short film, Lace, made by students of Film and Audiovisual Program at the University of Cuenca, in order to strengthen the visual narrative through the silences that defines the script and the depiction of characters.
The work began with the investigation of silent films, their precursors and their transition to talkies, in order to conceptualize what is meant by sound, sound environment, and the role dialogue plays in the film.
In addition, the short film script and the biographies of the only two characters are thoroughly studied, including both: their psychological aspects and their actions; all this, as a method of discovering relevant instances in which it was necessary to use silence as a narrative device that enriched the scene. Also, it emphasizes the contrast of these moments and how they build an implicit dialogue without using a spoken resource.
The result of our work highlights the importance of silence, as the absence of verbal dialogue. This produced a sound design that works with silence, which is an essential part of the filmed work. Silence becomes a dramatic device in this work: contributes to the development of history and leads us to understand that the actions of the actors have their own language beyond words.
http://dspace.ucuenca.edu.ec/handle/123456789/21948
Cine
Cortometraje
Silencio
Silente
Recurso Dramatico
Sonoridad
Narrativa Visual
Encajes: la importancia del silencio
oai:dspace.ucuenca.edu.ec:123456789/347802021-01-22T15:11:17Zcom_123456789_161com_123456789_117com_123456789_33356col_123456789_164
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Cedillo Méndez, Ana Valeria
author
2020-08-25
This research aims to study the field of the script to register the most important aspects of
children's stories adapted to cinema, as well as to study the emerging adaptation theory
through case studies with a strong focus on the techniques used by cinema to accentuate its
main message. It is also studied when a film can be positioned as an adaptation, the hero's
journey and its various manifestations and the problems of the hegemony of north American
cinema in Latin America. This allows theoretical-practical research greater rigor and
knowledge to merge and adapt two children’s stories to a feature film script titled Océano.
Therefore, the creative process is presented from the third part of this investigation. The
illustrator - screenwriter relationship is not exempt from the study either, since they make
possible the visual identity of the characters. This work offers a new vision about the
adaptation of children's literary works to film scripts.
http://dspace.ucuenca.edu.ec/handle/123456789/34780
Cine
Audiovisuales
Cuento
Guión
La adaptación de dos relatos infantiles a guion del largometraje cinematográfico: “Océano”
oai:dspace.ucuenca.edu.ec:123456789/277252019-10-01T15:51:57Zcom_123456789_161com_123456789_117com_123456789_33356col_123456789_164
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Giese, Gabriela
author
2017-06
The following research is about acting techniques that are based on methods used by Konstantin Stanislavski, Sanford Meisner, Lee Strasberg, David Mamet and Fátima Toledo. The theory presented here has been applied on the audiovisual project Muerte Súbita, filmed on may 2014, under the direction of Diego Ulloa. Through this document, the writer seeks to contrast acting techniques considered invasive to the actors, in order to set boundaries for a healthy preparation (physical and emotional) of the actors.
http://dspace.ucuenca.edu.ec/handle/123456789/27725
Cine
Actuacion
Stanislavski Konstantin
Meisner Sanford
Strasberg Lee
Mamet David
Toledo Fatima
Muerte súbita: ¿Dónde está el límite emocional y físico en la preparación del actor en el cine?
oai:dspace.ucuenca.edu.ec:123456789/18212020-08-03T19:23:44Zcom_123456789_161com_123456789_117com_123456789_33356col_123456789_164
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Valencia, Nataly
author
2011
http://dspace.ucuenca.edu.ec/handle/123456789/1821
Largometraje
Ficcion
Guion
Pelicula
Guion Cinematografico
Rodaje
El Secreto Del Pingüino
Proyecto Cinematografico
El secreto del Pingüino. Proyecto de producción de largometraje de ficción
oai:dspace.ucuenca.edu.ec:123456789/363912021-08-16T14:08:04Zcom_123456789_161com_123456789_117com_123456789_33356col_123456789_164
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Guanuchi Morocho, Andrea Maribel
author
2021-06-22
The present monograph entitled “The art direction in the tableau vivant for the video
installation Las más puras” seeks to enter the field of experimental cinema, supported by
the contributions of José Antonio González (2005), making special reference to the
“tableau vivant whose concept is studied in Esther Gimeno’s text entitle Pictures in
motion: painting in the cinema” (2011), where the relationship between cinema and
painting is clearly stated, which in our case we 3nál deal with in the video installation, as
indicated German (2011). For this, we 3nál use the bibliographic method to define
concepts, as well as the 3nálisis of cases according to Seymour Chatman who proposes
the 3nálisis of the film into history and 3nálisis3, along with the 3nálisis of the
cinematographic set design proposed by Gentile, Díaz and Ferrari (2007). The purpose of
this research is to generate an art direction proposal for the experimental production Las
más puras and in this way provide information for all those who search to get involved
in this new way of making audiovisual productions
http://dspace.ucuenca.edu.ec/handle/123456789/36391
Cine
Audiovisuales
Pintura
Artes visuales
La dirección de arte en el tableau vivant para la videoinstalación. Las más puras
oai:dspace.ucuenca.edu.ec:123456789/347712020-08-24T22:11:50Zcom_123456789_161com_123456789_117com_123456789_33356col_123456789_164
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Ramírez Quinde, Erick David
author
2020-08-24
There are several proposals to build what we call 'film narrative', to narrate
there are several necessary elements and resources, such as the plot, the space,
the time, the narrator and the characters. When screen is divided, the
cinematographic narrative must present the narrative resources within each
fragment of it, so that the story has meaning and narrative.
The objective of this study is to investigate the qualities of narrative montage,
simultaneous montage and spatial montage; by creating the experimental proposal
for the montage of the short film Alguien toca la puerta, where the split-screen
composition tells the drama of four characters in four frames on the same screen.
Being a four-frame composition, it is important the way in which the narrative
time is presented due to the simultaneity of the actions that happen and are shown
on the screen. This film represents the complexity of making simultaneous
construction show us what a character imagines behind the phone conversation.
Using a simultaneous narration, the screen partition allows to unite and, at the
same time, separate the dramatic moments both visually and audibly
http://dspace.ucuenca.edu.ec/handle/123456789/34771
Cine
Audiovisuales
Montaje
Narración
La pantalla dividida vs el montaje alternado en el montaje del cortometraje “Alguien toca la puerta”
oai:dspace.ucuenca.edu.ec:123456789/274522020-08-03T19:23:44Zcom_123456789_161com_123456789_117com_123456789_33356col_123456789_164
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Valencia Romo, Galo David
author
2017-05
This monograph has the objective of conferring the importance of the process of voice characterization of the actor within the realms of fiction cinema. This requires previous analysis of the general importance of sound within the world of cinema, and how it is that this element has been abandoned within audiovisual practice. There will be an undertaking of analysis of the perspectives of different authors regarding various methods of voice characterization or oral construction within the cinema. Proposals will be gathered, with the aim of developing tools which permit efficient work between directors and actors when staging, deriving in this way an effective interpretation of the dialogues contained within the script. The suggestions and conclusions of this work will be applied to a piece of audiovisual fiction, in order to assess the efficacy of the systematised tools.
http://dspace.ucuenca.edu.ec/handle/123456789/27452
Sonido
Voz
Dialogos
Oralidad
Escena
Caracterización
El trabajo de caracterización de la voz en el actor de cine
oai:dspace.ucuenca.edu.ec:123456789/433662023-11-09T21:29:12Zcom_123456789_161com_123456789_117com_123456789_33356col_123456789_164
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Manzano Barrionuevo, Alexis Alberto
author
2023-11-09
his research aims to improve the understanding of concepts related to lighting, chromatic
and photographic composition in the genre of history or period drama, examining them as
tools that help the viewer with perception and temporal location and then applying them in the analysis of two significant Ecuadorian works in this genre, Don Eloy (1981) and 1809 – 1810 mientras llega el día (2004) by Camilo Luzuriaga. For this study we will be guided by the concepts presented in Cinematographic Production Manual (2004) by Carlos Vega Escalante, Light in the Cinema (2005) by Jacques Loiseleux, Cinema and History (2008) by Tomás Valero Martinez, and Chromatic Cinema (2010) by Richard Misek. We find it convenient to base ourselves on the research methodology on the arts proposed by Hernández, F. in his book Fields, themes and methodologies for research related to the arts. Bases for a debate on research (2006). It is our intention that this research will make a significant contribution to the theory and practice of Ecuadorian cinema in the history genre or period drama.
http://dspace.ucuenca.edu.ec/handle/123456789/43366
Cine
Estética visual
Encuadre fotográfico
Cinematografía
Iluminación, cromática y composición fotográfica en el cine histórico ecuatoriano: Don Eloy (1981), y 1809 – 1810 Mientras llega el día (2004), de Camilo Luzuriaga
oai:dspace.ucuenca.edu.ec:123456789/259022020-08-03T19:23:45Zcom_123456789_161com_123456789_117com_123456789_33356col_123456789_164
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Arce Salazar, Diana Lucía
author
2016
The following thesis proposal includes the reflection on the process of a feature film screenplay comprises the writing process of a feature film screenplay which chooses comedy as its film genre. Within this genre, the purpose is to emphasize an approach on comedy or dark humor with its aesthetic-narrative singularities applied to the screenplay’s creative process. Keeping this motivation in mind, it must be noted that in Ecuador the approach to this type of sub-genre is almost non-existent. However, in other parts of the world there are examples and exhibits of dark humor in film.
The following work aims to become a type of universal proposal created from a local perspective, enriching our country’s cinematic baggage, intending to reinforce a trend that transcends the line that has been, perhaps, the most recurring one in the films that have been produced in our country.
This investigation proposes to comprehend comedy beyond the laughter and recognize its complexity. At the same time, it aims to become a generator of questions for Ecuadorian filmmakers and film students in their use of comedy in their works, whether they are short films or feature films.
http://dspace.ucuenca.edu.ec/handle/123456789/25902
Cine
Audiovisuales
Comedia
Humor
Largometraje
Cine Ecuatoriano
Humor Negro
Suicidario”: creación de un guión literario de comedia negra para largometraje Ecuatoriano”
oai:dspace.ucuenca.edu.ec:123456789/224762020-08-03T19:24:02Zcom_123456789_161com_123456789_117com_123456789_33356col_123456789_164
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Cooper Pesántez, Harry Stephen
author
2015
Clearly man is unable to keep his attention on two objects simultaneously. If he’d trying he’d ended with his view on one or none of the objects. From a photographic field when employing the use of the split screen, two frames in one screen. It is necessary and important to guide the viewer's attention from one side to the other at key moments of each frame. Thus, it is possible to send as much information as possible to the public.
Since there is no extensive information about split screen. The guidance of visual attention in the split screen discusses photographic techniques used in films that are close to guiding the attention of the viewer. Consequently displaying nine specific techniques: the law of thirds, one-point perspective, selective focus and point to point, contrast or affinity of tones, the foreground, middle ground and background, types of camera shots, composition, downtime between frames and inter-frame action. Finally it’s talk about the results and how each technique was used or adapted en every of the short film Stereo, from the pre-production and the filming.
http://dspace.ucuenca.edu.ec/handle/123456789/22476
Pantalla Dividida
Tecnicas Fotograficas
Cortometraje
Atencion Visual
Manejo de la atención visual en una pantalla dividida del cortometraje stereo
oai:dspace.ucuenca.edu.ec:123456789/208472020-08-03T19:24:03Zcom_123456789_161com_123456789_117com_123456789_33356col_123456789_164
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Molina Díaz, Diana Bélen
author
2014
This paper theorizes about adapting a historical fact to the cinematographic screenplay. Through the presentation of theories of adaptation by different authors, this work seeks to promote the debate on the historical adaptation in filmmaking. The theory is put into practice by adapting the historical fact of the slaughter of sugar mill workers in 1977 into a fictional screenplay entitled Aztra. Once the practical work is finish, the author proceeds to analyze the adaptation on the screenplay and draw conclusions about the practical process.
http://dspace.ucuenca.edu.ec/handle/123456789/20847
Cine
Cinematografia
Ficcion
Aztra
Trabajadores Del Ingenio Azucarero Aztra
Masacre
Historia
La adaptación de un hecho histórico al guión cinematrográfico de ficción: el caso de la masacre de los trabajadores del Ingenio Azucarero Aztra en 1977
oai:dspace.ucuenca.edu.ec:123456789/431192023-10-11T15:08:13Zcom_123456789_161com_123456789_117com_123456789_33356col_123456789_164
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Quezada Quezada, Juan Fernando
author
Patiño Yumbo, Juan Diego
author
Wambanguito Shariano, Allessa Altair
author
2023-10-10
The film project entitled Production, Exhibition and Theoretical Reflection of the short film
Kuruchupa Punk has three components: the short film, the production folder and the three
individual essays corresponding to each technical area of those who graduate with the project.
Regarding the content of the production folder, it contains all the elements used for the build in
the film. All essays have been prepared for a practical application in the elaboration of the short
film. The research method that articulates the making of this short film is research/creation,
namely, based on artistic practice (Hernández Hernández, 2006). The central target of the project
has been the creation of a new cinematographic reality/truth based on falsehood and parody, so
it gives a new concept to the called “documentary” and establishes itself as a mockumentary,
solidifying its foundations through the aesthetic construction, nourished by the visual approach in
its cinematographic language and by the production design.
http://dspace.ucuenca.edu.ec/handle/123456789/43119
Cine
Cortometraje
Cinematografía
Realización, exhibición y reflexión teórica del cortometraje Kuruchupa Punk
oai:dspace.ucuenca.edu.ec:123456789/355052021-01-22T15:24:20Zcom_123456789_161com_123456789_117com_123456789_33356col_123456789_164
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Espinoza Salamea, Paola Alejandra
author
2021-01-22
El uso de la cámara lenta como herramienta expresiva aplicada al cortometraje La Noche
del Escamol is a research project that aims to understand the implications of the use of visual
effects within a film production, and focuses of the sames as it goes beyond its entertainment capacity. Furthermore, this work focuses on the concept of “slow motion” as it is defined through
theories elaborated by various filmmakers such as Jean Epstein (1957), and philosophers such as
Gilles Deleuze(2011); and then consider them together with the notion of “expression” that critic
Fredric Jameson ([1988] 2012) has developed. Out of this conceptual framework, three case of movies that have used slow motion for expressive purposes are analyzed: In the mood for love (Wong
Kar-wai, 2000), El colombian dream (Felipe Aljure, 2006) and En el nombre de la hija (Tania Hermida,
2011). These three films are analyzed following the filmic analysis methodology of André Gaudreault
and Francois Jost (1995) in which they propose to find a cinematographic point of view. The critical
review as well as the comparison between the sequences of these slow-motion scenes used in the
audiovisual pieces, are meant to give a sense of direction for the short film La noche del escamol
http://dspace.ucuenca.edu.ec/handle/123456789/35505
Cine
Audiovisuales
Producción
Personajes
Expresión
El uso de la cámara lenta como herramienta expresiva aplicada al cortometraje La noche del escamol
oai:dspace.ucuenca.edu.ec:123456789/431172023-10-11T14:28:02Zcom_123456789_161com_123456789_117com_123456789_33356col_123456789_164
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Yuqui Peña, Christian Gabriel
author
Mena Medina, Elías Antony
author
2023-10-09
The project "Realization and Theoretical Reflection of the Boom Boom Lemon Short Film" is structured in
three parts that correspond to the areas of production, cinematography direction, and editing in order to
create a proposal for the Boom Boom Lemon short film, a project of fiction genre. This project focuses on
the aesthetic creation of an atmosphere and tone through the use of photography and editing; thus, we
present the production folder along with the essays: "Creating Atmosphere in the Boom Boom Lemon
Short Film," "Shallow Depth of Field Applied to the Sequence Shot as Dramatic Action Applied to the Boom
Boom Lemon Short Film," "Slow-motion and Use of Metric Editing in the Boom Boom Lemon Short Film"
production folder and the three individual essays corresponding to each technical area of those who will
graduate with this project. Regarding the content of the production folder, it contains all the elements of
the short film's realization. All essays have been carried out with a view to practical application in the
making of the short film. The research method that articulates the making of the short film is
research/creation or practice-based (Hernández Hernández, 2006). The main objective of this project is
to find the very soul of film creation, understanding cinema as an artistic tool that helps us understand
the world, life, and our own mysteries. Using meta-cinematographic resources for this purpose
http://dspace.ucuenca.edu.ec/handle/123456789/43117
Cine
Cortometraje
Cinematografía
Realización y reflexión teórica del cortometraje Boom Boom Lemon
oai:dspace.ucuenca.edu.ec:123456789/418442023-05-11T17:01:02Zcom_123456789_161com_123456789_117com_123456789_33356col_123456789_164
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Barragán Salazar, Jefferson Andrés
author
2023-05-08
The following investigation entitled Framing and composition for the main character in the
short film Hostilidad, starts with a brief introduction to the history of photography and reaches
a conceptualization of the basic technical aspects of film photography. Learning these bases
will allow us to correctly apply the resources that photography offers us when supporting the
construction of the main character. For this, we will focus on the theory that various authors
establish in their studies: Mirar (1980), by John Berger, Días de una Cámara (1980), by Néstor
Almendros; The image-time (1985) and The image-movement (1983), by Gilles Deleuze, as
main exponents in the investigation. This theoretical knowledge will be complemented and
considered in analysis of the films El castillo de la pureza (1972), by Arturo Ripstein; Perfect
Blue (1997), by Satoshi Kon; Marriage Story (2019) by Noah Baumbach. For the present
investigation, the methodologies to be used will be the investigation - creation and in the film
analysis, the text Précis d’ analyse filmique (1992), by Francis Vanoye and Anne Goliot-Lété,
will be used.
http://dspace.ucuenca.edu.ec/handle/123456789/41844
Cine
Encuadre fotográfico
Cortometraje
Encuadre y composición para el personaje principal en el cortometraje Hostilidad
oai:dspace.ucuenca.edu.ec:123456789/367982021-09-22T13:00:08Zcom_123456789_161com_123456789_117com_123456789_33356col_123456789_164
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Torres Palaguachi, Erika Lisseth
author
2021-09-22
The objective of this study is to show hoy the first person in the script of the short documentary
El Pequeño Cuartel is built and developed. This short film is based on personal and family
memories that are situated in a domestic space. New meanings in archive material will also be an
important part of this project. Among the concepts that are going to be addressed, are the ones
taken from Cineastas Frente al Espejo (2008), in which María Luisa Ortega, Alain Bergala, Efrén
Cuevas Alvares are a part of. This text delves into a study about autobiographical cinema and the
different uses of the "I" (first person) in filmed diaries. Raquel Schefer (2008) and Antonio
Weinrichter (2007) are the theorists that give this project the concepts about self-portraits
exploring the personal intimacy of the subjects. Reinforcing the theme of enunciation, Philippe
Lejeune in El pacto autobiográfico y otros estudios (The Autobiographical Pact and Other Studies)
(1975) starts by approaching the narrator, character and author as a single enunciating instance
that is exposed, fragmented, and that uses the first person in the enunciation. Polyphony and
archival material, narrative and discursive aesthetic elements are characteristic of this type of selfreferential documentaries that function as devices for the said enunciation. For the analysis of
documentary cases where each enunciation of the "I" is shown in a different way, different
methodological proposals given by Aida Vallejo in her study of Narrativas documentales
contemporáneas. De la mostración a la enunciación (2013) will be used. El relato cinematográfico.
Cine y Narratología (2001) by André Gaudreault and Franꞔois Jost, give this project the concepts
inside the narrative and the story (diegesis and extradiegesis), with special emphasis on the
elements of the narrative instance, the temporality and the point of view. All the previous concepts
are used in order to be able to develop the narrative proposal for the documentary short film El
Pequeño Cuartel from the theorization and analysis of different films, to prove its use in the
documentary implementation.
http://dspace.ucuenca.edu.ec/handle/123456789/36798
Cine
Audiovisuales
Documental
Biografía
La narración en primera persona aplicado al guion de cortometraje - documental El Pequeño Cuartel
oai:dspace.ucuenca.edu.ec:123456789/18222020-08-03T19:24:03Zcom_123456789_161com_123456789_117com_123456789_33356col_123456789_164
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Castro Riera, Carlos
author
2011
http://dspace.ucuenca.edu.ec/handle/123456789/1822
Largometraje
Largometraje Alex
Guion
Corto Experimental
Cine De Genero
Cine
Ciencia Ficcion
Cine Fantastico
Cine Latinoamericano
Cine Independiente
Arquitrama
Minitrama
Sustentación teórica del proyecto de largometraje Alex
oai:dspace.ucuenca.edu.ec:123456789/428612023-09-19T21:59:51Zcom_123456789_161com_123456789_117com_123456789_33356col_123456789_164
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Sosa Díaz, Rex David
author
Carpio Peláez, José Francisco
author
Jerez Sinche, John Fernando
author
2023-09-19
The film project entitled Making, exhibition and theoretical reflection of the short film Cámara
Oscura consists of three units: the short documentary, the production portfolio and the three
individual essays of each technical-creative area: "Distribution and exhibition: festivals and
streaming platforms for the documentary short film Cámara Oscura", "Documentary and
archival photography in the Cámara Oscura" and "Decoration of locations to symbolize the
character in the documentary Cámara Oscura". The research method that articulates the
realization of the short film is based on artistic practice (Hernández Hernández, 2006). The
specific contribution is the reflection, research and production of an audiovisual project based
on archival photographs, which shows the life and work of the photographer José Pelaez and
the relationship with the director of the film, José Carpio, his grandson.
http://dspace.ucuenca.edu.ec/handle/123456789/42861
Cine
Cortometraje
Escenografía
Fotografías
Realización, exhibición y reflexión teórica del cortometraje Cámara Oscura
oai:dspace.ucuenca.edu.ec:123456789/401422022-10-31T12:21:55Zcom_123456789_161com_123456789_117com_123456789_33356col_123456789_164
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Ayavaca Morocho, Jonnathan Adrián
author
Vintimilla Andrade, Gianella Adriana
author
Bermeo Quito, Bryan Patricio
author
2022-10-11
The film´s project Realization, exhibition, and theoretical reflection of the short film Extravío
is made up of two components: the production folder and the individual essays by area. The
first component contains the production folder that consists of the proposals for direction,
photography, sound, art, production, and distribution. Within the second component we find
three essays. In the first essay Logistics and diffusion: production model for the film project
Extravío, by Jonnathan Ayavaca, the conceptions of logistics, diffusion applied within a
production model for a short film, parallel process, are explored. In the second essay Direction
of actors: construction of organic characters for the film project Extravío, by Gianella
Vintimilla, the alternative of finding interpretive verisimilitude in a short time is exposed with
actors who are similar to the character in real life. In the third essay Photographic Direction:
visual narration and point of view in the film project Extravío by Bryan Bermeo, the way in
which the viewer analyzes and translates a meaning inherent in the cinematographic language
that manages the project are interpreted. These essays consist of background, theoretical
framework, film analysis and discussion analysis of the proposal and conclusions
http://dspace.ucuenca.edu.ec/handle/123456789/40142
Cine
Artes escénicas
Ensayos
Cortometrajes
Realización, exhibición y reflexión teórica del cortometraje Extravío
oai:dspace.ucuenca.edu.ec:123456789/208522020-08-03T19:24:04Zcom_123456789_161com_123456789_117com_123456789_33356col_123456789_164
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Pesántez Urgilés, Jorge Ricardo
author
2013
This work of thesis focuses on the humorous, satirical and ironic speech which Fernando Vallejo shows across his work La puta de Babilonia, in order to disgrace the concept of religion which Christianity as long as Islamism have wisely made good use of to hold their power throughout the centuries.
http://dspace.ucuenca.edu.ec/handle/123456789/20852
Discurso Humoristico
Humor Literario
Satira
Ironia
Religion
La puta de Babilonia: humor, sátira e ironía como armas para la deconstrucción del pensamiento religioso
oai:dspace.ucuenca.edu.ec:123456789/224792020-08-03T19:24:04Zcom_123456789_161com_123456789_117com_123456789_33356col_123456789_164
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Calle Heras, Cristian Rogerio
author
2015
This monograph aims to present the tools used by storytellers to create corals stories with a vision of multiperspective and also the techniques used in the production process and assembly works with a dashed timeline. Practical tools of this research are applied to a short film called Implicados,(Implicated) the same features storytelling techniques mentioned.
http://dspace.ucuenca.edu.ec/handle/123456789/22479
Narrativa Coral
Narrativa Discontinua
Narrativa No Lineal
Montaje
Tiempo Narrativo
Produccion Narrativa
Cortometraje
La importancia de la narración discontinua y su influencia en la producción y en el montaje en una historia coral, aplicada al cortometraje “Implicados”
oai:dspace.ucuenca.edu.ec:123456789/18172020-08-03T19:24:05Zcom_123456789_161com_123456789_117com_123456789_33356col_123456789_164
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Correa Parra, Angel Renato
author
2011
http://dspace.ucuenca.edu.ec/handle/123456789/1817
Tierra De Emprendedores
Programa De Television
Proyecto Audiovisual
Produccion
Rating
Programa de televisión Tierra de emprendedores. Preproducción, producción, post producción, difusión y comercialización del programa televisivo
oai:dspace.ucuenca.edu.ec:123456789/427432023-09-05T14:48:45Zcom_123456789_161com_123456789_117com_123456789_33356col_123456789_164
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Medranda Hernández, Lider Renán
author
2023-09-04
El Bravo, is a fiction feature film project whose general objective is: Develop the final draft of
a script in which an adequate design of its main character is applied and through this, criticize
the current system of distribution of audiovisual products in the Ecuadorian television.
Other objectives are to study the critical capacity of the cinema and its characters and to
analyze the dramaturgical principles and the cinematographic genre codes that make up the
character's design.
It also seeks to design the main character of the work El Bravo: motivations, reasons,
objectives, psychology, ideology, philosophy, spirituality, appearance and actions.
The first final draft of the script for El Bravo has been written. In some moments of the script
and as part of the creative process and the dramaturgical beginning of the conflict, the
scriptwriter had to set aside the principles of film genres and the hypotheses chosen for this
thesis and work with codes from other genres.
The beginning of Setting was one of the biggest problems for the scriptwriter. There are few
established foundations for the fusion between audiovisual artistic codes and anthropological
and sociological aspects of Ecuadorian society.
http://dspace.ucuenca.edu.ec/handle/123456789/42743
Cine
Guión cinematográfico
Cineatografía
El diseño del personaje protagónico en el guión del proyecto de largometraje de ficción El Bravo
oai:dspace.ucuenca.edu.ec:123456789/231432020-08-03T19:24:06Zcom_123456789_161com_123456789_117com_123456789_33356col_123456789_164
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Toledo Garzón, Juan Pablo
author
2015
This investigative project aims to communicate, by means of an objective perspective, some of the methods that were followed during the study and application of the rewriting of the script Cinco.Cero.Siete. It is supported theoretically by several writers that have addressed the same topic from a different viewpoint, including: Parker, Field and McKee, among others. In turn, the project is fed by examples that are based on the rewriting process of the script Cinco.Cero.Siete, which demonstrate the changes that have been made in its various versions.
http://dspace.ucuenca.edu.ec/handle/123456789/23143
Reescritura
Guion
Ficcion
Cinematografia
Estudio de la reescritura de guión aplicado al cortometraje Cinco. Cero. Siete
oai:dspace.ucuenca.edu.ec:123456789/252182020-08-03T19:24:06Zcom_123456789_161com_123456789_117com_123456789_33356col_123456789_164
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Cifuentes De La Torre, Carlos Andrés
author
2016
This research focuses on the development and pre-production stages from the role of the director. The case of writer-director is explored as well as the essential dramaturgical theory to the construction of a feature film, because it is very likely that independent filmmakers who use and independent model like in Ecuador, choose that option. The main objectives are: understand what is expected of the director during these stages and what things should the new filmmaker expect to find to meet the challenge of a production manager in Ecuador. With all the information obtained in this investigation, the director has faced the stage of development and has projected the preproduction of the feature film Miradas. The experience is collected in detail as a diary.
http://dspace.ucuenca.edu.ec/handle/123456789/25218
Cine
Cine Ecuatoriano
Guionista
Dramaturgia
Opera Prima
Auteur
Cómo afrontar el desarrollo y preproducción de un largometraje ecuatoriano? Diario de preproducción de Miradas, ópera prima de Andrés Cifuentes
oai:dspace.ucuenca.edu.ec:123456789/234382020-08-03T19:24:07Zcom_123456789_161com_123456789_117com_123456789_33356col_123456789_164
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Arteaga Bastidas, Gonzalo Andrés
author
2015
The process ofwriting a screenplay is complex and full of variants. The screenwriter must find a way to effectively use the tools that are available too him to tell a story in the most effective fashion. The following essay deals with the tool of characterization, parting from the use of the archetypical figure of the hero in order to generate traits of personality in the protagonist, this being used with the intention of creating empathy with the spectator but also analysing how the characterization process has been applied in various films from the Ecuadorian cinematography. The results of the investigation were employed to write screenplay: Guaqueman, justiciero insular, in order to develop a three dimensional and profound protagonist.
http://dspace.ucuenca.edu.ec/handle/123456789/23438
Guion
Personaje
Protagonista
Heroe
Estereotipo
La construcción del protagonista a partir de la figura arquetípica del héroe, aplicado al guion en desarrollo: Guaqueman, Justiciero Insular
oai:dspace.ucuenca.edu.ec:123456789/146432020-08-03T19:24:08Zcom_123456789_161com_123456789_117com_123456789_33356col_123456789_164
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Calderón, Franklin
author
2004
http://dspace.ucuenca.edu.ec/handle/123456789/14643
Ecuador
Video Documental Migracion
Migracion
Tesis En Cine Y Audiovisuales
El Sueño Americano
oai:dspace.ucuenca.edu.ec:123456789/146472020-08-03T19:24:08Zcom_123456789_161com_123456789_117com_123456789_33356col_123456789_164
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Carrasco, Rafael
author
2009
http://dspace.ucuenca.edu.ec/handle/123456789/14647
Cine Y Audiovisuales
Comic Historia
Comic En El Ecuador
Novela Grafica
Guion De Historietas
Guion Tecnico
Tesis En Cine Y Audiovisuales
Realización de una novela gráfica con el título de Angelus Hostis
oai:dspace.ucuenca.edu.ec:123456789/428442023-09-15T20:18:51Zcom_123456789_161com_123456789_117com_123456789_33356col_123456789_164
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Quito Quito, Andy Mateo
author
Campoverde Garzón, Fabián Alexander
author
Gómez León, Diana Carolina
author
2023-09-15
The film project titled Realización, exhibición y reflexión teórica del cortometraje Parálisis,
consists of three components: the short film, the production folder, and three individual
essays corresponding to each technical area of those graduating with the project. Regarding
the content of the production folder, it includes all the elements related to the making of the
short film. The applied research method is the research/ creation or practice-based artistic
research (Hernández Hernández, 2006). The specific contribution of the project is to create
an experience that combines fear and desperation within a dreamlike world. This is achieved
through the technical areas that aim to blend various cinematic styles, ranging from 1940s
surrealism to contemporary horror cinema , in order to immerse the viewer in this dreamlike
atmosphere.
http://dspace.ucuenca.edu.ec/handle/123456789/42844
Cine
Cortometraje
Cinematografía
Escenografía
Realización, exhibición y reflexión teórica del cortometraje Parálisis
oai:dspace.ucuenca.edu.ec:123456789/358902021-03-18T13:47:48Zcom_123456789_161com_123456789_117com_123456789_33356col_123456789_164
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Juela Guamán, Pablo Raúl
author
2021-03-18
In the film world, characters are essential when structuring and developing a story, in
which they are generally classified under the definition of "good" or "bad." However,
there are more and more films that have introduced “dark” characters as protagonists; It
is no longer only the "good guys" who take the leading roles, the antagonists have been
gaining more space in films over time.
For this reason, it has been decided to carry out an investigation on the “antihero” as a
derivation of the "bad one". Thus, through this inquiry, it will be possible to understand
what this archetype means: what are the characteristics that identify it; what principles or
anti-values determine their behavior, and what are the motives that lead a character to
rebel against society and become the living representation of those anti-values. With this
apprehension, the necessary references will be obtained to proceed with the construction
of an antihero as the main character of a fictional script for a short film.
This proposal arises from the bet that cinema makes nowadays, by presenting the human
side of antiheroes: What motivates them? How are they built? This is how the following
project has been developed, with these questions as the driving force and with the aim of
solving them we have proceeded to analyze theories and concepts of various authors such
as José Luis González and Robert McKee, as well as several films. All this with the aim
of defining the character with precision, and obtaining clear guidelines to work on Bruno,
the anti-heroic protagonist of the short film La Bala.
This research also explores the circumstances that build the world that surrounds the
character to turn him into an antihero, which in fiction are embodied through elements
such as language, costume, spaces, physical characteristics, among other factors that are
decisive to characterize him.
Pablo Raúl Juela Guamán Página 5
To support all this construction, various films will be addressed and analyzed, in which
the antihero is the central character: Monsieur Verdoux (1947) by Charles Chaplin, Los
Olvidados (1950) by Luis Buñuel, and Ratas, Ratones y Rateros (1999) by Sebastián
Cordero, from these films, certain characteristics of their main characters are rescued and
taken as reference; in addition to carrying out an analysis regarding the features of each
of these antiheroes based on their context and environment.
http://dspace.ucuenca.edu.ec/handle/123456789/35890
Cine
Audiovisuales
Filmación
Ficción
Cinematografía
Actuación
El antihéroe como personaje de ficción en el guion del cortometraje La bala
oai:dspace.ucuenca.edu.ec:123456789/275672020-08-03T19:24:09Zcom_123456789_161com_123456789_117com_123456789_33356col_123456789_164
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Ruales Mosquera, Juan Manuel
author
2017-06
This work involves the development of a promotional short film (teaser) documentary project tentatively named " A'i Curaca ".
This is the first development phase of the project where the theoretical underpinnings of the concepts applied to the documentary and then the complete description of the production process of the short film, to the stage of project development will be discussed . It is hoped this will serve as a tool for funding or co-production. The documentary " A'i Curaca " addresses the subject of Shamanism Cofan in the town of Dureno province of Sucumbios. It is the follow up to Silverio Criollo and his way to becoming a Curaca ( Shaman ).
http://dspace.ucuenca.edu.ec/handle/123456789/27567
Cine
Documental
Curaca
Shamanismo
Cortometraje
Documental Etnografico
Documental etnográfico: estudio de la propuesta de realización aplicada al cortometraje promocional para televisión “A´I Curaca”
oai:dspace.ucuenca.edu.ec:123456789/146422020-08-03T19:24:09Zcom_123456789_161com_123456789_117com_123456789_33356col_123456789_164
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Vázquez, Pablo Antonio
author
2004
http://dspace.ucuenca.edu.ec/handle/123456789/14642
Pulp Fiction
Reservoir Dogs
Semiologia
Film
Quentin Tarantino
Cine Norteamericano
Cine Independiente
Tesis En Cine Y Audiovisuales
Desarrollo semiótico del código iconográfico en los filmes
oai:dspace.ucuenca.edu.ec:123456789/319892019-03-12T09:17:33Zcom_123456789_161com_123456789_117com_123456789_33356col_123456789_164
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Torres Carrasco, María Elissa
author
2019-02-11
The final step in movie making where we can provide rhetoric, aesthetic and ethic is in the filmsediting. As we know a director visualizes their ambitions and materializes them in the shooting of amovie, it is only with a conscious planning of the edition, that the intentions of the film areconsolidated.Based on a theoretical and historical study of the cinematographic trends known as Direct Cinema and «contemplative cinema», as well as the nature of nonfictional cinema, this work generates a montage proposal for the documentary film Lira de Oro, making a careful review of practical elements of the film editing such as: strategy and structure; rhythm, duration and time; and film space. The findings of both the bibliographic and filmographic research and the film editing experience are exposed.
http://dspace.ucuenca.edu.ec/handle/123456789/31989
Cine Documental
No-Ficcion
Montaje Documental
Direct Cinema
Cine Contemplativo
Cine Y Audiovisuales
Teoría y práctica del montaje aplicado al documental realista y contemplativo Lira de Oro
oai:dspace.ucuenca.edu.ec:123456789/355082024-02-02T12:25:42Zcom_123456789_161com_123456789_117com_123456789_33356col_123456789_164
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Saca Guamán, Paúl Andrés
author
2021-01-22
This study is a qualitative research aimed at understanding the so-called resources of everyday, disparity, and stasis, as fundamental pillars of the 'transcendental style', proposed by the North American theorist Paul Schrader, in his analysis of Yasujirô Ozu’s films. Based on Schrader's theoretical proposal, by way of argument, Gilles Deleuze's theory on contemplative cinema is reviewed. This theoretical framework has been helpful at analyzing Latin American travel films, along with the application of the structural and generic method proposed by the script theorist Gerardo Fernández, in his book Dramaturgia Método para escribir o analizar un guión dramatizado ([2003] 2014, sic.); and, together with the scheme of the classic hero's journey, in the version of Francis Vanoye, who, in his book Guiones modelo y modelos de guión, ([1991] 1996, sic.) proposes a method to analyze films that are developed as open structures of the odyssey type. Finally, the dramatic proposal applied to the Distancia script is presented. Through theorization and practice, the goal of this work is to obtain the script for a youth travel drama, in addition to contributing to the theoretical reflection on script writing and to Ecuadorian cinematography.
http://dspace.ucuenca.edu.ec/handle/123456789/35508
Cine
Audiovisuales
Análisis cinematográfico
El ‘estilo trascendental’ aplicado al cortometraje de drama juvenil Distancia
oai:dspace.ucuenca.edu.ec:123456789/146402020-08-03T19:24:10Zcom_123456789_161com_123456789_117com_123456789_33356col_123456789_164
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Pazos Bolaños, Franklin David
author
2003
http://dspace.ucuenca.edu.ec/handle/123456789/14640
Guionista
Tesis En Cine Y Audiovisuales
Conceptos y ejercicios básicos para el guionista principiante
oai:dspace.ucuenca.edu.ec:123456789/397712022-09-19T20:02:57Zcom_123456789_161com_123456789_117com_123456789_33356col_123456789_164
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Molina Cáceres, Andrea Gabriela
author
2022-09-12
The following research aims to study close ups and the use of the
handheld camera as expressive mediums, which show the interior state
of the characters in the documentary short film project “El pequeño
cuartel”. The theoretical framework from which we construct our
approach includes contributions by Gilles Deleuze (his use of the
concept of faceness in regard to the close up) and the dimension of the
soul of Balasz, Pasolini (the subjective indirect free), as well as Mekas’
transgression in modern cinema. As far as case studies go we will
analyze three films and we will be using classic analysis criteria which
means analyzing what makes up the movie beyond a simple viewing
through the use of a data sheet, narrative structure and aesthetic
treatment.
Based on this foundation we have constructed a photography proposal
for our documentary short film project. Given that there have been few
studies on the close up and the handheld camera in Ecuador, we hope
that our theoretic proposal and its potential for the practical applications
promote the research of cinema in these fields.
http://dspace.ucuenca.edu.ec/handle/123456789/39771
Cine
Cámara
Documental
Cortometraje
El primer plano y la cámara en mano como medios expresivos del estado interior de los personajes del proyecto de cortometraje documental El Pequeño Cuartel
oai:dspace.ucuenca.edu.ec:123456789/428292023-09-13T17:21:08Zcom_123456789_161com_123456789_117com_123456789_33356col_123456789_164
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Sanchez Moreno, Noelia Alejandra
author
Quizhpi Cuesta, Freddy Santiago
author
Parapi Bermejo, Cristopher Israel
author
Carpio León, John Angelo
author
2023-09-12
The present film project titled Realization, exhibition and theoretical reflection of the short film
Los anhelos perdidos, consists of three units: the short film, the production folder and
individual essays by creative area of those who compose this graduation project. In the
production folder there are all the indispensable aspects, creative as well as financial, for the
realization of the documentary short film.
On the other part, the essays correspond to the areas of production, direction, photography
and art; in them include topics such as “Financing strategies and crew limitation for the
documentary short film Los anhelos perdidos”, by Noelia Alejandra Sanchez Moreno;
“Maternity, disappearance and search in the direction of the documentary short film Los
anhelos perdidos”, by Freddy Santiago Quizhpi Cuesta; “Landscape photography and the role
of the photographer in the documentary short film Los anhelos perdidos”, by Cristopher Israel
Parapi Bermejo; and, “Implementation of color and scenography for the documentary short
film Los anhelos perdidos”, by John Angelo Carpio León.
The research method that guides this audiovisual project is based on artistic practice
(Hernández Hernández, 2006). The principal finding of this project is to represent a familiar
reality, to delve into the intimate through different landscapes and contexts that immerse us in
the story, to use all artistic resources at our disposal to capture different sensations and to
develop some strategies that help to solve all the needs proposed by this project.
http://dspace.ucuenca.edu.ec/handle/123456789/42829
Cine
Cortometraje
Escenografía
Realización, exhibición y reflexión teórica del cortometraje. Los anhelos perdidos
oai:dspace.ucuenca.edu.ec:123456789/208502020-08-03T19:24:11Zcom_123456789_161com_123456789_117com_123456789_33356col_123456789_164
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Rodríguez Rodríguez, Eulalia Esther
author
2013
Since the study of the romantic hero of Rafael Argullol, the author establishes a relationship between the heroic romanticism from XVIII and XIX centuries and the Ecuadorian poetry from XX century. The Ecuadorian poetry of XX century opens with the Modernist movement that allows some continuity in themes and forms until the vanguards influence when the poem is considered as and art object instead of what the romantics believed, a result of inspiration. Lyrical voices studied as representatives from the first part of century are Medardo Ángel Silva, César Dávila Andrade and David Ledesma Vásquez. The lyrical voices from the second part of the century are Efraín Jara Idrovo and Ernesto Carrión Castro. With these considerations the author determines the existence heroic romanticism outbreaks in the lyrical voices of Ecuadorian poetry due XX century.
http://dspace.ucuenca.edu.ec/handle/123456789/20850
Romanticismo
Poesia Ecuatoriana
Arquetipos
Vanguardia Ecuatoriana
Poetas Romanticos
Medardo Angel Silva
Cesar Davila Andrade
David Ledesma
Efrain Jara
Ernesto Carrion
“El héroe romántico en la poesía Ecuatoriana del siglo XX”
oai:dspace.ucuenca.edu.ec:123456789/18242020-08-03T19:24:12Zcom_123456789_161com_123456789_117com_123456789_33356col_123456789_164
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Montaleza Juca, Eduardo Domingo
author
2012
http://dspace.ucuenca.edu.ec/handle/123456789/1824
Documental Amigos
Carcel
Grupo De Musica
Libertad
Vodig
Documental amigos
oai:dspace.ucuenca.edu.ec:123456789/346342020-08-26T02:23:00Zcom_123456789_161com_123456789_117com_123456789_33356col_123456789_164
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Chocair Cevallos, Jonathan Eladio
author
2020-07-15
BACKGROUD: Throughout history, mass media such as films, radio or television have broadcast numerous adaptations and false documentaries that are based on recreation, forgery of texts and historical events. OBJECTIVE: To write the fake documentary script: "Desconectados: un clic oculto de la comunicación” by rebuilding real and self-referential events, pondering on the particularities of narrative construction of the subgenre. METHODOLOGY: Techniques for creation and building the fake documentary are clearly heuristic. The script’s diagram is composed by accumulated information. This project is a result of empirical knowledge. Author focuses his creation processes on alteration, recreation and cloning of dialogues. CONCLUSIONS: Creativity operates differently in each person at the time of telling a story. The author uses real dialogues, transcripts, cloning and imitation of events in real life as resources to help his creative process of building a script. KEYWORDS: documentary, fake documentary, speech construction, script creation, web love.
http://dspace.ucuenca.edu.ec/handle/123456789/34634
Cine
Audiovisuales
Documental
Guión de cine
Internet
Escritura del guión de largometraje de falso documental: desconectados, un clic oculto de la comunicación
oai:dspace.ucuenca.edu.ec:123456789/224822020-08-03T19:24:15Zcom_123456789_161com_123456789_117com_123456789_33356col_123456789_164
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Guerra Estrada, Diana Carolina
author
2015
This analytical approach revises different elements that a variety of authors suggest to create a character. It starts with an investigation about how to start creating a character (talk from yourself, research and visual references), establishing a relation between veracity, the character and the context. Then it puts emphasis on the three dimensions that deepen a character from the design to the screen. The theoretical part of the research concludes with a consideration about characters contradictions in their conflict, their growth and their actions. Finally the total research throws a design with which the leading character of the screenplay Ella manda (She’s the boss) was built.
http://dspace.ucuenca.edu.ec/handle/123456789/22482
Guion Cinematografico
Personaje Protagonico
Tridimensionalidad
Dimension
Cinematografia
Cine
Personaje
Construcción verosímil del personaje protagónico del guion ella manda a partir de sus tres dimensiones: física, psicológica y social
oai:dspace.ucuenca.edu.ec:123456789/402032022-11-10T20:27:12Zcom_123456789_161com_123456789_117com_123456789_33356col_123456789_164
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Jimbo Fernández, Renata Camila
author
Pucha Ortiz, Jessica Viviana
author
Remache Peñaloza, Roger Josué
author
2022-11-09
This cinematographic project of the short film Una charla con mamá consists of the
realization, exhibition and theoretical reflection of the making of the short film, which has
three components: The production folder contains the documents belonging to all the
previous production work for the making of the short film Una charla con mamá Individual
essays first: Direction: construction of a dramatic universe through the sociological
dimension for the project Una charla con mamá , which aims to create a theory for the
composition of a believable dramatic universe, exclusively in short films, feature films,
through the leading character and his perception at a sociological level; second Art Direction:
Historical setting of the year 2006 for the project Una charla con mamá , its general
objective is to transplant the setting of the year 2006, through costumes, set design and use of
characteristic objects of the time within the short film; third: Sound: Direct sound recording
techniques applied in the project Una charla con mamá ; which aims to create and expose an
efficient method of capturing and post-production of appropriate sound in student or
low-budget projects, to improve the quality of said audiovisual products. By area and the
short film. Finally, the short film that supports and verifies what is stated in the text
http://dspace.ucuenca.edu.ec/handle/123456789/40203
Cine
Cortometraje
Artes escénicas
Personajes
Realización. Exhibición y reflexión teórica del cortometraje. Una charla con mamá
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