"L'Atalante" y las raíces del cine moderno

• Autores: Àngel Quintana Morraja
• Localización: Archivos de la filmoteca: revista de estudios históricos sobre la imagen, ISSN 0214-6606, Nº 52, 2006 (Ejemplar dedicado a: Jean Vigo, una mirada independiente), págs. 86-103
• Idioma: español
• Títulos paralelos:
  • L’Atalante and the Roots of Modern Cinema
• Enlaces
  • Texto completo
• Resumen

  • This article examines the question of the place to be occupied by a film like L’Atalante as a unique piece in the cinema history. In attempting to define that place, the author begins by considering a series of films with river settings shot in France in the 1920s and 30s. These films aimed to explore a specific sort of documentary aesthetics and establish a tension between form and content. The article then goes on to study the status of L’Atalante at the time it was produced, as a work marked by a continual debate between the concept of amour fou, with its origins in surrealism, and the principle of social reality, representative of a brand of aesthetics very close to poetic realism. L’Atalante is, however, a fundamental work of art which, independently of its place of origin and historical time, has been projected into the future and has come to establish some of the bases of modernity. In order to better understand this process, the author focuses especially on two key stylistic elements, i.e., the issue of false memories and the aesthetic research that Jean Vigo carries out on abstract physicity, on the attraction between bodies.