Browsing by Author "Torres Palchisaca, Galo Alfredo"

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El antihéroe y las referencias reales para su construcción dentro del guión: ¡sonría!, le estamos filmando
(2015) Oña Fonseca, Francisco Javier; Torres Palchisaca, Galo Alfredo
The objective of this research, is to understand the antihero’s psico-social dramatic structure, as a fictional character, as well as the futuristic science fiction’s dramatic structure, and their implementation in the script ¡Sonría!, Le estamos filmando, which narrates the story of a antiheroine that, with help of a teenager’s group, will try to overthrow a dictatorship. The story happens in the year 2045, in Quito city, presented as a futuristic metropolis with past baroque characteristics. In order to elaborate the script as well as this research, based in looking for characters as Robin Hood’s and Antonio das Mortes’s kind, script tutorials, personal interviews, and bibliographical and film graphical research were used; having as a final result, the antihero’s basic characteristics, his social importance, the relation between the antihero and his fictional environment, and the elemental properties to build a futuristic city
Antología crítica del microrrelato: un vistazo sobre la producción ecuatoriana
(2015) Mendieta Cabrera, Nancy Elizabeth; Torres Palchisaca, Galo Alfredo
The presentproject aims to develop a critical anthology of narrative brevity, whose components we will call “microrrelatos”.Scholars like Lauro Zavala, a Mexican researcher specialist in literary theory, classified them within the post-modern literature. Additionally, the dominant features, techniques, resources,topics that are more frequent in the short story are intended for being reviewed. The production of the authors in this field from recent years of the Twentieth Century and early Twenty-First Century in Ecuador is directed to be included. The principalobjectiveof this work is to know and highlight this genre and, of course, propose an anthology to be used in the educational field.
La auto- representación y la comedia en el cine contemporáneo hecho por mujeres
(2019-09-20) Franco Varea, Ana Cristina; Torres Palchisaca, Galo Alfredo
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.
Caracterización sonora de ambientes cinematográficos reales aplicados al documental “El pequeño cuartel”
(Universidad de Cuenca, 2021-01-05) Toledo Ochoa, Camilo; Torres Palchisaca, Galo Alfredo
This monography studies the possible strategies that a sound engineer can apply during the design of a sound proposal for a cinematographic space through theoretical analysis of films and sound engineers such as Michael Chion (1997), Laurent Jullier (2007), Jorge Velasco (2008) among others. For this reason, the study reflects on the characterization of real spaces that can acquire a life on their own to apply it to documentary short film El pequeño cuartel, in such way that the house to be searched becomes a character within the story. This study uses a qualitative methodology of investigation/creation to Hernández Hernández (2015). On the other hand, we generate the methodology of analysis of the sound of referential films from a table created with the sound elements according to Murch (2010) and the characterization scheme of Galán (2007) to obtain a character characterization model (cinematographic space) based on sound elements. In this way, the methodology used is applied to films Nostalgia (1983), by Andrei Tarkovsky, Tren de sombras (2014) by Jose Luis Guerin, and the Ecuadorian documentary La bisabuela tiene Alzheimer (2012), by Ivan Mora in which the use of sound is the main object of study, which will allow raising the sound proposal in El pequeño cuartel. Finally, contribute to studies about expressive sounds in documentary film, local and national.
Cercanías y distancias entre el videoarte y el cine experimental en la obra de Miguel Alvear
(Universidad de Cuenca, 2024-02-08) Castro Santander, Paulo Renato; Torres Palchisaca, Galo Alfredo
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
El cine - foro: como estrategia didáctica para una clase de literatura
(2011) Molina Ríos, Rosa Irene; Patiño Maldonado, Rosa Victoria; Torres Palchisaca, Galo Alfredo
Cine dentro del cine, un complejo engranaje
(2017) Villacreses Kingman, María Gloria; Torres Palchisaca, Galo Alfredo
Metacinema, which in general aspects, refers to cinema that talks about itself, is a cinematographic resource quite used throughout history. The possibilities of metacinema are multiple, and it’s effects on the film work and the audience change depending on the context and the director’s intention. The following paper explores the different typological studies of this resource and seeks to clarify which belong to the reflective scope and which move away from this dynamic. Subsequently, after the classification of types, three feature films are analyzed, in order to understand the role of the metafictional resources in the complexity of the cinematographic work. This research aims to understand metacinema beyond its tautological condition, and to recognize it’s interpellative and reflective qualities. At the same time, this work aims to raise questions for the Ecuadorian filmmakers, in relation to the use of this resource in their upcoming work.
Cine poético: comparaciones y metáforas audiovisuales en El lado oscuro del corazón (1992), de Eliseo Subiela
(Univesidad de Cuenca, 2025-03-27) Barriga Gómez, Christian Eduardo; Torres Palchisaca, Galo Alfredo
This research aims to address the topic of poetry in an audiovisual way, for which the film has been selected El lado oscuro del corazón (1992) by Eliseo Subiela, with a specific focus on the use of rhetorical figures such as comparisons and metaphors, due to the interest related to the use of figurative sense in cinema, with the literary contribution we have authors such as José Luis García with his book Las figuras retóricas (2007), Graciela Gonzáles as well as his studies based on the Identification of rhetorical figures in the film Paprika by director Satoshi Kon (2021) and Juan Gómez with the text La poética del pop: los recursos retóricos en las letras del pop español (2004). In addition, in the studies of images and sounds in the figurative sense we have philosophers and experts of cinematographic language such as: Gilles Deleuze with his book Estudios de la imagen-tiempo 2 (1985), and Marcel Martín with his book El lenguaje del cine (2008). The authors first share the theoretical part and then, an audiovisual perspective. In order to achieve the proposed objectives, we believe that the optimal qualitative methodology for reflection work is research on the arts, which have the purposes of criticism and theorization (Hernández, Hernández, 2006). This project of theoretical reflection aims to contribute to studies on audiovisual poetry, and specifically on the figures of comparison and metaphor.
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
(Universidad de Cuenca, 2023-10-31) Pacheco Pacheco, José Alejandro; Torres Palchisaca, Galo Alfredo
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.
El concepto de encierro en el discurso cinematográfico de la película : Prometeo Deportado
(2013) Bermeo Palacios, Juan Fernando; Carrasco Luzuriaga, María Elisa; Torres Palchisaca, Galo Alfredo
PrometeoDeportado (2010), the first fiction movie of Ecuadoran documentary maker (up to this movie) Fernando Mieles, presents to the spectator a set of allegories and references that work as a clear putting in scene of the different realities of Ecuador. For long time, the fiction in this side of the world, has used the topic of the migration; nevertheless, in the tape, the topic is seen from a different perspective: from the desolation of a confinement. As the story develops, the spectator will experiment an allegoric and spiritual trip. In this document there will be approached concepts reflected in movie scenes, across the philosophy of Gilles Deleuze, Michel Foucault and Francis Vanoye, and your concepts of this prison in which prominent figures, only perceptible to this double look of the spectator: in other words, the worlds of diégesis and extradiégesis. The movie handles also a dramatic code nearby to the Greek mythology. In this aspect, the need to read the tape from the Greek myths (especially the versions of Aeschylus and Hesíodus) will be a basic procedure that will sustain the whole range of significances and interpretations
La construcción del protagonista a partir de la figura arquetípica del héroe, aplicado al guion en desarrollo: Guaqueman, Justiciero Insular
(2015) Arteaga Bastidas, Gonzalo Andrés; Torres Palchisaca, Galo Alfredo
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.
Construcción verosímil del personaje protagónico del guion ella manda a partir de sus tres dimensiones: física, psicológica y social
(2015) Guerra Estrada, Diana Carolina; Torres Palchisaca, Galo Alfredo
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.
Cosmovisión oriental: budismo e hinduismo en seis poemas de César Dávila Andrade
(Universidad de Cuenca. Facultad de Filosofía, Letras y Ciencias de la Educación, 2025-10-27) Argüello Andrade, Daniel Mathews; Torres Palchisaca, Galo Alfredo
Throughout history, Buddhism and Hinduism have profoundly influenced the understanding of the human being, its religious and philosophical dimension to integrate into various artistic and literary manifestations. This research aims to define the theoretical framework of Buddhism and Hinduism to analyze six poems by César Dávila Andrade from the perspective of the hermeneutic method. It seeks to answer the question: What are the poetic resources through which César Dávila connects his poetry with central aspects of Buddhism and Hinduism in six of his poems? The theoretical framework that we will use to define the concepts of worldview, Buddhism, and Hinduism is constituted by the following texts and authors: The Buddhism of Peter Harvey (2006), What is Buddhism by Jorge Luis Borges and Alicia Jurado (1991), Time and Narrative I. Configuration of time in the historical narrative by Paul Ricoeur (1995), The Hinduism of Benjamin Preciado (1992), Philosophy and Worldview by Urbano Ferrer (1981). The methodology will be guided by Paul Ricoeur's hermeneutics, especially in its development of the theory of the three mimesis. In conclusion, this work aims to verify the fusion between the poetry of César Dávila Andrade and the influences of Eastern worldviews, addressing themes such as suffering, impermanence, and the search for peace, among others.
El cuento y la novela digital: estructura del texto e interactivdad
(2016) Rocher, Cédric; Torres Palchisaca, Galo Alfredo
For somedecades the computer, the tablets, the intelligent telephones, the e-books, the Internet and the connectivitybreakedinto in ourhouses, changing in an radical wayourway of apprehending the world. It istruethatnowadays, the phenomenonmultimedia and his impact on the civil society have been analyzedfromdifferent perspectives, treating to establish the changes in the behavior and habits that the digital thingcarry. Evidently, the literary world, as all the areas of the cultural one, has been affected by thistechnologicalphenomenon and his innovations. Severalauthors and literarycritics have analyzed the topicfromoptical, suchseveral as Christian Vanderdrope and Roger Chartier who have studied the changes that go from the physical transformations of the book up to variations in the structure of the text; Clément and Landowstudy, also the structure itself of certain narrative contemporarytexts; Writers as Andrés Neuman, Leonardo Valencia, Vicente Mora or Fernando Escobar, create and theythink about the use thattheythemselves do of the digital toolacrosshis blogs. These new textualidadesitiswhatwe propose to study in thiswork, describing the impact of hisevolution and artistic mutation, basicallycentring on the structure of the textalreadybe of the story or the novel; as well as to establish the new entailthat supports thesetextswithhisreaders.
Desencanto y cinismo en el realismo sucio de Pedro Juan Gutiérrez y su Trilogía sucia de La Habana (1998)
(Universidad de Cuenca, 2022-03-10) Crespo del Campo, Ana Catalina; Torres Palchisaca, Galo Alfredo
Dirty Havana Trilogy (1998), by Pedro Juan Gutiérrez, is a set of three books of short stories. Published for the first time in 1998 it narrates the harsh reality of Havana in the nineteen nineties. This analysis will start from dirty realism as a concept that includes cynicism, disenchantment, marginality, violence, daily life and locality. (Birkenmaier, 2001). The concept of cynicism that will be used will be the one proposed by Onfray “Philosophical cynicism proposes a joyful insolent knowledge and an effective practical wisdom” (2002, p. 32). It is also intended to study and analyze the crisis of the Cuban Revolution, which is the reason for the disenchantment, according to the concept proposed by Sophía Yánez (1997). Regarding the methodology, using the theory of the Three Mimesis by Ricoeur, the space/time in which the story takes place will be contextualized, then, it is intended to show the way in which the parts that make up dirty realism are configured in the Dirty Havana Trilogy (1998). The Three Mimesis’s theory suggests that there are three parts to analyze in a text. In the particular case of this analysis, Mimesis I includes the context of the author and the reality in which the work was written, Mimesis II is the analysis of the elements of dirty realism in the Dirty Havana Trilogy and how they are configured throughout the text, and Mimesis III is the last section in which observations about the text are written.
Devenir-mujer de Elsa e Hipólita en Los siete locos (1929) y Los lanzallamas (1931), de Roberto Arlt
(Universidad de Cuenca. Facultad de Filosofía, Letras y Ciencias de la Educación, 2025-10-25) Lalvay Espinoza, Michelle Alexandra; Torres Palchisaca, Galo Alfredo
This research, entitled Becoming Women: Elsa and Hipólita in Roberto Arlt's Los siete locos (1929) and Los lanzallamas (1931), is guided by the following question: What literary devices does Arlt use to construct the becoming-woman of Elsa and Hipólita in Los siete locos (1929) and Los lanzallamas (1931)? The main objective is to define and theoretically substantiate the concepts of becoming and becoming-woman, based on the philosophical proposal of Gilles Deleuze and Félix Guattari, which they present and develop, especially in A Thousand Plateaus (1980, 2004). The methodology that will guide this study is hermeneutics, according to Paul Ricoeur in his book Time and Narrative I: The Configuration of Time in the Historical Narrative (1995), in which he develops the theory of triple mimesis. As we will have the opportunity to show, Elsa constitutes a becoming-woman with decisions that, in our day, would be problematic, while Hipólita becomes a woman by being part of the minority and becoming what being a woman means to her. Both embody processes of escape, autonomy, and resistance that place them at the center of a critical reading of female subjectivity.
El diseño de sonido en el cortometraje Summer Beats
(2015) López Tumbaco, Carmen Johanna; Torres Palchisaca, Galo Alfredo
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.
Documental amigos
(2012) Montaleza Juca, Eduardo Domingo; Torres Palchisaca, Galo Alfredo
El ‘estilo trascendental’ aplicado al cortometraje de drama juvenil Distancia
(Universidad de Cuenca, 2021-01-22) Saca Guamán, Paúl Andrés; Torres Palchisaca, Galo Alfredo
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.
El ángulo de cámara y el punto de vista aplicados a la dirección del cortometraje Tercera visita
(Universidad de Cuenca, 2021-10-15) Urgilés Bustos, Paúl Marcelo; Torres Palchisaca, Galo Alfredo
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