Abstract

Cada film abre un mundo (o un cinemundo, como dice Jean-Luc Nancy). Por esto, el camino, y el road-movie como género, son más que meros tropos, más que simples metáforas para la película: son los sensorimotor schemata del cine pavimentando su propio camino. El problema de la sincronización por lo tanto se reformula como routing de los sentidos, cada vez en un sentido singular, como su colisión, donde sus trayectorias se cruzan. El artículo analiza el curso filmado por los ojos y oídos de un número de films como Blow Out (Brian De Palma, 1981), Lost Highway (David Lynch, 1997), and Deathproof (Quentin Tarantino, 2007).

Abstract

This article offers a historical summary of the relationship between the Catalan narrative and dramatic literature, and their film versions from the beginnings of the cinema in Catalonia, going through the Franco period, the proposals of the poetic avant-garde and the cultural recovery of the 1980s, to the current narrative and non-narrative genres, in which the trend is to trascend the audiovisual “version” with an autonomous film conception.

Abstract

The author looks into the common elements in the format-related writing and attends to the pragmatic signs of the professionalisation of the script-writing, mainly in such a culture as the Catalan one. The given examples refer to the dialogue’s functions as for the narrative plot construction and the transmission of contents.

Abstract

The author analyses the parallel components of the brevity parameter between the written and the film narrative, and, at the same time, the languages autonomy that each one involves, starting from the specific performance option in two versions of the tale Redacció (‘Composition’) by Quim Monzó.

Abstract

Audiovisual media are part of children´s daily life. They build and/or replace a part of the reality that is sometimes preceded. This paper is interested in one of the elements of the audiovisual binomial, the soundtrack, in order to analyse its meaning and sense from the children’s point of view. The objectives are: to determine if the audiovisual media clips to which children are exposed (sound, image and all) are perceived differently; to establish the possible differences in the assessment they make when comparing the sound and image presentation modalities. Fourteen audiovisual media (movies, series, cartoons and documentaries) were identified by 115 children (10-12 years old) as preferred. Audiovisuals were edited in three modalities (sound, image, and all) and grouped into different series of three clips, which were watched in group sessions by 547 Spanish and Argentinian children (mean age: 11 years old). An Assessment Questionnaire of audiovisual clips was designed and implemented. Results showed differences in the meaning of the soundtrack in three of the five categories of the questionnaire. The significant predominance of the sound in series, documentaries and, especially, movies is highlighted. Contextual space-time elements, affective implications, feelings, and empathy as well as assessment of the experience are all perceived by means of the sound (the music).