Resumen de Los límites de la representación Cinematográfica: ópera y modernidad
In Classical film, a theatrical style was seen as the arch enemy.
However, various filmmakers have taken to the limit an aesthetic of representation in which a theatrical style of miseen-scene is quite noticeable. Beginning with Jean Renoir’s last work, Le petit théatre de Jean Renoir, the article considers various modern filmmakers whose desire to take the aesthetics of representation to the limit ultimately brings them to an operatic style. Thus, at a key moment in their careers, Manoel de Oliveira, Hans Jürgen Sybeberg and Jean Marie Straub/Danielle Huillet find that the opera offers a terrain of self-reflexivity for the film medium and a refuge from the degradation the film image was suffering at the hands of mass culture.
