El retrato pictórico en el cine: una aproximación

• Autores: Mónica Barrientos Bueno
• Localización: Avanca / Cinema 2012 / Cine Clube de Avanca (dir.), 2012, ISBN 978-989-96858-2-6, págs. 124-132
• Idioma: español
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• Resumen

  • It ́s well known that cinema and painting aren ́t remote mechanisms, they maintain an extremely productiverelationship where many elements are transferred to different levels; in it, there ́s a particular case where we canfind out how they ́re fixed: among all the painting genres with real presence in films, the portrait is the most recurrent.It ́s one of the clearest links, however this fact doesn ́t undermine the interest in this topic. The paintings and theportraits are pieces of the furniture in the houses where the characters live. The portrait is used just like a simpleelement, without any meaning, or it can have a symbolical presence that carries on a far away significance; it canturn into a key piece in the story: visual, narrative and symbolically. The quiet and static appearance of the paintedportrait can hide a disturbing presence; in fact, many films have made it the centre of the screenplay to turn it into aneye ́s trap that affects to the characters and the spectator at the same time. In this approach, there has been chosenfilms where the portrait has a high relevance in the story, so different aspects and conclusions can be obtainedrelated to the painting ́s presence in the cinema.