Cine y Audiovisuales

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A doble cuadro: montaje en dos situaciones
(2015) Sánchez Ordóñez, Sebastián Marcelo; Luzuriaga Arias, Carlos Camilo
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.
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
(2014) Molina Díaz, Diana Bélen; Wazhima Monné, María Melina
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.
La adaptación de un hecho real al guion cinematográfico en el cortometraje “Implicados”
(2018-03) Narváez Calderón, Christian Esteban; Abad Vidal, Julio César
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.
Afroecuatorianos y deporte en tres documentales ecuatorianos
(Universidad de Cuenca, 2024-04-03) Maldonado Pesántez, Giselle Nicole; Gonzalo Jiménez, Gonzalo
This research is based on the following question: How are Ecuadorian documentary film, sports and the presence of Afro-Ecuadorians related? In this study, we seek to understand the relationship between those documentary films that have sports (boxing and soccer) as their central axis, and the presence of Afro-Ecuadorian characters, through the narrative, visual and sound resources of cinema, as well as the media. that Ecuadorian filmmakers use to create these documentaries. The documentaries that will be analyzed are: La Tola Box (2014), by Pável Quevedo Ullauri; Next Round (2018), by Ernesto Yitux and Valeria Suárez Rovello; and Alberto Spencer, Ecuadorian from Peñarol (2014), by Paúl Venegas and Nelson Scartaccini, because these are documentaries that have been made by and with Ecuadorians, because they consider the themes that are connected, such as sports, with documentary-type narratives. This work follows the methodology of research on the arts, which refers to the set of approaches, techniques and procedures that researchers in this field use to carry out studies and analyzes in the field of the arts. Finally, as a result of this research, it is expected to make a contribution to the theoretical debates on documentary film, an integral part of the world and film theory over time. These debates focus on fundamental questions related to the nature, purpose and aesthetics of documentary film. Likewise, about the presence of Afro-descendants in Ecuadorian films.
Análisis de la violencia física y simbólica en la filmografía de Alejandro Jodorowsky mediante el ensayo audiovisual Cuerpo y carne
(Universidad de Cuenca, 2023-01-05) Maldonado Ordóñez, Samantha Alicia; Neira Molina, Vivian Alejandra
This study analyzes the representation of elements of physical and symbolic violence in Alejandro Jodorowsky's filmography. By using a surrealist, oneiric and performative cinematographic language, his filmography favors intrinsic symbolic content as well as violent physical actions made invisible in the collective imaginary. The audiovisual essay short film entitled Cuerpo y carne (Body and flesh) analyzes, observes and studies the images of three films from Jodorowsky's filmography: Fando y Lis (1968), El Topo (1970) and Santa Sangre (1989); in order to capture them in new audiovisual work that contemplates the patterns of both physical and symbolic violence. In other words, the audiovisual essay is used as a cinematographic tool of analysis and authorial expression.
Análisis de los procesos de preproducción, producción y postproducción audiovisual publicitaria en Aliem Films, YDAR producciones y Pangea. Tv
(Universidad de Cuenca, 2022-10-13) Córdova Granda, Karen Fabiana; Zea Montero, Pedro Xavier
This study focuses on analyzing the audiovisual production process of three Ecuadorian production companies, with the aim of identifying the activities carried out in each of the preproduction, production and post-production phases, as well as the resources, both human, material, intellectual and financial, which are considered indispensable in the process. The method to be used to obtain the required information was qualitative, through semi-structured interviews applied to the directors of each production company, the information obtained was recorded in a table, classifying each phase with its corresponding activities and the resources necessary for each activity. The results reveal the production processes developed by the different audiovisual production companies, the specific activities carried out in each phase of the process, the elements necessary to carry out these activities, in addition to the factors that intervene in the allocation of costs and preparation of the budget. final. On the other hand, it was identified that the production companies carry out less planning activities and more efforts in assembly or editing and, despite considering different tasks, similar results are obtained. Likewise, each of them has its base resources that vary according to its work model. Finally, when analyzing the preparation of the budget, it was determined that they have their own method of assigning costs to the final production, the same one that is designed focusing on the needs of each advertising spot.
“Analizando El Vacío”: análisis de los códigos que constituyen al cine como una forma de expresión que manipula la realidad e imagen en pos de su re-simbolización
(2014) Capelo Cando, Patricio Xavier; Luzuriaga Arias, Carlos Camilo
The following paper is an analytic path that will lead to the outline of an approach of a model of cinematographic analysis, applied in he short film called ¨El contenedor¨, developed during the film studies of Patricio Capelo and Carlos Castro. In the first section, there will be a review over topics that go from the ritualistic birth of theater, the archetypes, the collective unconscious, the constitutive features of mythologies, the path of the hero, the study of the Tarot, all to relate the way of creating and conceiving cinema in the present day and, therefore, understand how does those archaic mechanisms work in this contemporary medium. In the second section, it would be shown the way in which contemporary authors analyze film sequences, studying montage notions and some cinematic codes that have established both the basis to the way a movie is conceived, and the place the spectator occupies to perceive a work piece. In conclusion, this project intends to create an outline of a model of film analysis, trying to make the spectator aware of these codes. Using the concepts revised previously, it would be shown a way to read and receive a movie.
Animación 3D: superación del miedo en el personaje protagonista niño del proyecto del cortometraje Salta
(Universidad de Cuenca, 2023-03-24) Herrera Ortega, David Alberto; Neira Molina, Álvaro Sebastián
This project is based on the following research question: What are the appropriate audiovisual and narrative resources and techniques in order to represent a child's fear and its overcoming in the short film Salta? In addition to the interest of developing an animated short film, which seeks to be a relevant audiovisual product to promote the culture of animated cinema in Cuenca and Ecuador, it is intended, through the 3D animation technique, to illustrate a story that deals with a deep and emotionally dense topic: the overcoming of fear by a childcharacter. The objective of the proposal is to make a 3D digital animated short film, underpinned by a reflective text, and based on the exploration of concepts of an approximately 7 years old child-character who overcomes his fear of jumping from his tree house The project’s methodology consists in a combination of aesthetic and artistic creation, grounded on theoretical, empirical and philosophical knowledge, which allows the conceptualization of the child-character, the treatment of overcoming fears, and the fundamental principles of animation work. The proposal also aims to combine in a single project referential analysis and 3D animation realization. The result is a script/storyboard product for an animated short called Salta, which tells a brief story of a boy who overcomes his fear of jumping down from his tree house, after he had accidentally knocked down the ladder that allowed him to climb down.
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
Apreciación cinematográfica: video respaldo
(2013) Faicán Suquisupa, Franklin Leonardo; Serrano Serrano, Wilmer Luciano; Paredes Ochoa, Germán Patricio; Vega Cuenca, Alfredo Vinicio; Pérez Agusti, Carlos
This work finds its justification in the teaching complement we believe need to be developed to accompany the teaching book entitled "film appreciation" authored by Dr. Carlos Perez Agusti, the same as has been the theoretical basis for the students of the Film career and Audiovisual, for what we consider relevant to its author, is also the director of this work, text and video that have a genuine link. This audiovisual follows a sequential order, allowing a better understanding of the concepts in the book. It outlines the basic theory, which detail, for those who have a need to delve into issues, they will find in the text. And, in its part documentary includes testimonies of professionals who have followed the race, as well as personalities who have been instrumental in the creation of the degree, or are embedded in the broadcast world. It is the intent of those who produced this video support, which synthesized concepts, are a complement to training and support academic text "Film Criticism," whose ultimate goal is to raise media culture and contribute to the urgent task of clarification, the language film requires in turn appreciative.
La atenuación en la fotografía del cortometraje encajes
(2015) Granizo Sánchez, Cristian Israel; Pazos Bolaños, Franklin David
This graduation project seeks ways to develop and propose an aesthetic attuned to the script of the short film “Encajes”, for this, the subject of film grammar and a quick overview of how the short was developed is briefly described, starting with film pioneers, who after much experience with the resources available to them, can be a guide for others in forming the art of cinematography. In this process of analysis, several film resources were adopted and implemented in the short film, such as the use of backlight, so that it would "mitigate" the scenes in the photographic proposal. Thus, in the aesthetics of the film, constant backlights are used. In some scenes a soft side light was used that provided an attractive texture on the skin of the actors, contrasted with hard light and well defined shadows that define two particular environments, day and night. An aesthetic for the short was created, one that could attenuate the graphic nature of the scenes, giving more sense to the visual image in accordance with the story line and the intended meaning.
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.
El bajo concepto y la creación de personajes reales en el guión de Los Fracasados
(2015) Carrillo López, Esteban Santiago; Wazhima Monné, María Melina
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.
Caracterización de un personaje con trastorno de neurosis obsesiva, aplicado al personaje Alfredo en el guion del cortometraje mundos divididos
(Universidad de Cuenca, 2023-02-28) Ochoa Vera, Vania Dolores; Gonzalo Jiménez, Gonzalo
The purpose of this monograph is to propose the characterization of a character with obsessive compulsive disorder, based on the different Freudian theories that explain the behavior and the reasons why a person can suffer from it. The project will be applied in the writing of a script, where our main character will be shaped by the most relevant points of our research. Obsessive compulsive neurosis, as Freud called it in his essays, is a mental disorder characterized by the fact that people who suffer from it are constantly preoccupied with thoughts that do not really interest them. "People with obsessive neurosis are extremely perfectionistic and meticulous, which causes them to generate these types of thoughts that, in turn, become obsessive." (Glover, 2018). In general, people suffering from this condition have an extra characterization, that is, if to compose a character for fiction script it is necessary to establish their physical and social characteristics, to work a character with a mental disorder, it will be necessary to add the characterization of their psychological conditions, and to achieve this we will collect information from authors such as: Linda Seguer, Rufí, Mackee, who in turn, have cited great authors in their theoretical works that talk about the composition of cinematographic characters.
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
Cine de ficción basado en hechos reales en dos películas ecuatorianas: Mi tía Nora (1983), de Jorge Prelorán, y Pescador (2011), de Sebastián Cordero
(Universidad de Cuenca, 2023-02-17) Arias Rodríguez, Anibal Daniel; Gonzalo Jiménez, Gonzalo
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.
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.
Cineficación del teatro. Sobre la inclusión del lenguaje y técnicas cinematográfica, en la propuesta del montaje teatral Don Juan Tenorio
(2011) Jiménez, Gonzalo; Luzuriaga, Camilo

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