Cine y Audiovisuales-Pregrado

Permanent URI for this collectionhttps://dspace-test.ucuenca.edu.ec/handle/123456789/164

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El rol de la directora en el proceso creativo del cortometraje Café para dos
(Universidad de Cuenca, 2023-03-28) Heras Cueva, Simonné; Andrade Polo, Pedro Gustavo
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.
Encuadre y composición para el personaje principal en el cortometraje Hostilidad
(Universidad de Cuenca, 2023-05-08) Barragán Salazar, Jefferson Andrés; Andrade Polo, Pedro Gustavo
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.
Iluminación y color: expresión emocional del personaje protagonista en el cortometraje Y Amelia
(Universidad de Cuenca, 2023-05-09) Curimilma Macas, Orlando Alexander; Andrade Polo, Pedro Gustavo
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.
Narrativa: el flashback y la estructura de contrapunto aplicado al guión de largometraje 2050
(Universidad de Cuenca, 2022-09-22) Molina Orozco, Kevin Orlando; Andrade Polo, Pedro Gustavo
The purpose of this paper is the theoretical-practical study of flashback and counterpoint structure, starting with the analysis of the narrative construction in films, until obtaining tools and integrating them into feature film scriptwriting. The first section explores the concept of flashback and its two most common forms, circuit and bifurcated, based on the philosopher Gilles Deleuze (1987). In addition, the structure of counterpoint is approached from the notion of music according to the French composer Michel Chion (1993). In the second part, a corpus of essential films on flashback and counterpoint structure was elaborated, to begin with, we find Citizen Kane (1941) by Orson Welles, then we analyze the film 21 Grams (2003) by Alejandro Gonzáles Iñárritu and we conclude with the film The Skin I Live In (2011) by Pedro Almodóvar. Finally, in the third section, we detected relevant techniques and methods within the flashback and counterpoint structure. Finally, on this theoretical basis, the writing of the feature film script 2050 is established, thus conceiving fundamental pillars for future hypotheses and questions in the chair of film writing.
Propuesta de guion técnico y storyboard para el mediometraje La Bala: el plano cerrado como recurso expresivo y dramático
(Universidad de Cuenca, 2022-01-12) Sacoto Tacuri, Marcel Fernando; Andrade Polo, Pedro Gustavo
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.
Realización, exhibición y reflexión teórica del cortometraje Cajita de sorpresas
(Universidad de Cuenca. Facultad de Filosofía, Letras y Ciencias de la Educación, 2025-11-11) Vargas Palango, Amanda Salomé; Brito Carmona, Mayra Belén; Sarmiento Pazmay, Geovanny Alexander; Narváez Patiño, Mariuxi Janneth; Andrade Polo, Pedro Gustavo; Jiménez Jiménez, Gonzalo Gonzalo
Our thesis project, “Realization, Exhibition, and Theoretical Reflection of the Short Film Cajita de Sorpresas”, combines theoretical and practical elements. This document includes the short film it self, the complete production binder, and four accompanying essays: "Bordwell and Thompson's Production Theory in the Making of the Short Film Cajita de Sorpresas" by Amanda Salomé Vargas Palango; "Visual Metaphors in the Direction of the Short Film Cajita de Sorpresas" by Mayra Belén Brito Carmona; "Chiaroscuro and Naturalistic Lighting in the Short Film Cajita de Sorpresas" by Geovanny Alexander Sarmiento Pazmay; and "Art and Objects for Creating Metaphors in the Short Film Cajita de Sorpresas." Each essay adheres to the elements outlined in the evaluation rubric.
Realización, exhibición y reflexión teórica del cortometraje Flores, habitaciones y desapariciones
(Universidad de Cuenca, 2022-12-01) Sempértegui Durán, Paúl Esteban; Luzuriaga Andrade, Juan Pablo; López Ramón, Elian Roberto; Andrade Polo, Pedro Gustavo
The non-fiction short film project Flowers, Rooms and Disappearances has two components: the pre-production folder and the individual essays by area. Areas related to the production, assembly and direction of photography that correspond to the work of the aforementioned essay: in the production area, work was carried out with the minimum and essential resources to achieve a low-budget production that does not affect the quality of the short film. In the editing area, an approach was made towards a system of expressive articulation of the material, taking into account post-production techniques as discursive tools. The photography direction area, regarding the composition, sought to create atmospheres for the short film. In the production area, necessary strategies were applied to optimize material and financial resources for the production of the short film, likewise, in the assembly area, it was possible to synthesize the knowledge that served as a guide to structure the assembly as stated in the scheme. Lastly, in the area of photography direction, the use of atmospheres with respect to the composition of a space was managed. The operationalization of the proposal with respect to editing, photography, production, sound and direction, is a modest contribution of this work
Realización, exhibición y reflexión teórica del cortometraje SAMANTA
(Universidad de Cuenca. Facultad de Filosofía, Letras y Ciencias de la Educación, 2025-10-31) Patiño Rogel, Anthony Ariel; Alvarracin Sucozhañay, Fabiana Camila; Duran Yunga, Ruben Andres; Chacho Reyes, Diego Fernando; Llerena Encalada, Paula Estafenia; Andrade Polo, Pedro Gustavo
Our graduation project, titled Production, Exhibition, and Theoretical Reflection of the Short Film SAMANTA, includes both a theoretical and a practical component. In other words, this document includes: the short film, the production folder with all its components, and finally, the essays titled: “Financing and Distribution Strategies for the Short Film SAMANTA”, by Anthony Ariel Patiño Rogel; “Minimalism and Contemplation in the Direction of the Short Film SAMANTA”, by Fabiana Camila Alvarracin Sucozhañay; “Contemplative Shots and Subjective Shots in the Short Film SAMANTA”, by Ruben Andres Duran Yunga; and “Intellectual Montage and the Kuleshov Effect to Convey Emotions in the Fiction Short Film SAMANTA”, by Diego Fernando Chacho Reyes. Each essay/treatment contains the elements indicated in the evaluation rubric.
Realización, exhibición y reflexión teórica del cortometraje. Los anhelos perdidos
(Universidad de Cuenca, 2023-09-12) Sanchez Moreno, Noelia Alejandra; Quizhpi Cuesta, Freddy Santiago; Parapi Bermejo, Cristopher Israel; Carpio León, John Angelo; Andrade Polo, Pedro Gustavo
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.

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Browsing Cine y Audiovisuales-Pregrado by Author "Andrade Polo, Pedro Gustavo"