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La Estandarización Del Modelo De Programa De Mano Metro-Goldwyn-Mayer Revista Latina De Comunicación Social, Vol

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La Estandarización Del Modelo De Programa De Mano Metro-Goldwyn-Mayer Revista Latina De Comunicación Social, Vol Revista Latina de Comunicación Social E-ISSN: 1138-5820 [email protected] Laboratorio de Tecnologías de la Información y Nuevos Análisis de Comunicación Social España Willis García Talavera, James F. La estandarización del modelo de programa de mano Metro-Goldwyn-Mayer Revista Latina de Comunicación Social, vol. 5, núm. 51, junio-septiembre, 2002 Laboratorio de Tecnologías de la Información y Nuevos Análisis de Comunicación Social Canarias, España Disponible en: http://www.redalyc.org/articulo.oa?id=81955107 Cómo citar el artículo Número completo Sistema de Información Científica Más información del artículo Red de Revistas Científicas de América Latina, el Caribe, España y Portugal Página de la revista en redalyc.org Proyecto académico sin fines de lucro, desarrollado bajo la iniciativa de acceso abierto Willis García-Talavera, James F., 2002: La estandarización de formatos ... Página 1 de 6 Revista Latina de Comunicación Social La Laguna (Tenerife) – junio-septiembre de 2002 - año 5º - número 51 D.L.: TF - 135 - 98 / ISSN: 1138 – 5820 http://www.ull.es/publicaciones/latina/2002jwillisjunio5108.htm La estandarización del modelo de programa de mano Metro-Goldwyn-Mayer Dr. James F. Willis García-Talavera © La Laguna (Tenerife) RESUMEN: La exhaustiva renovación practicada en el diseño del típico programa de mano Metro-Goldwyn-Mayer, en las postrimerías de la década de los treinta, rompió definitivamente con los tradicionales conceptos anteriores. Esa estandarización de formatos supuso la instauración definitiva del margen blanco, el predominio de los colores vivos y los contrastes acusados, así como la abundancia de primeros planos de los actores protagonistas entre las figuras representadas. Este artículo analiza dicha transformación a través de diferentes teorías sobre la representatividad, simbolismo, separación, valoración y elocuencia de ese peculiar objeto publicitario. A partir de 1937, por razones de diversa índole, se produjo una profunda renovación en el concepto del programa de mano Metro-Goldwyn-Mayer. Esta transformación estuvo, fundamentalmente, propiciada por un recorte presupuestario que hizo que el modelo sencillo dominara sobre el resto de formatos. La restricción económica también conllevó que se redujera el gramaje –en el argot, el grosor del papel– a unos 63 gramos, aproximadamente, por metro cuadrado, y que desapareciera para siempre el modelo de tarjeta que había imperado desde los orígenes del programa de mano como tal. Desaparece la usual leyenda, tan en boga en los años precedentes, que era insertada en el programa de mano como si se tratara de un subtítulo, tratando de aportar un sentido unívoco a la imagen y reforzar su mensaje. De acuerdo con Roland Barthes (1989), esta eliminación supuso el aumento de las posibilidades significativas de la imagen, potenciando su función de anclaje, y la seguridad de que no se añadirían mensajes superfluos a través de textos, que él califica de parásitos. Se produce la trascendental instauración del borde o recuadro blanco en el programa de mano sencillo que, según la terminología de Jacques Aumont (1997), equivaldría a la adición de un marco-objeto al marco-límite inherente a cualquier imagen. Un elemento que revolucionaría el concepto que, hasta ese momento, se tenía de programa de mano, atendiendo, fundamentalmente, a razones de representatividad, simbolismo, separación, valoración y elocuencia, que oportunamente explicaremos. Y, por último, la arrolladora llegada del color, como carácter peculiar e inseparable del nuevo modelo, origen del matiz de opinión que, a partir de ese momento, generarían los nuevos ejemplares e ingrediente esencial en la obtención del pretendido impacto visual. Esta transformación del programa de mano conllevaría el ascenso de un punto –concretamente, del cuarto puesto al tercero– en la escala de iconocidad gráfica de Moles que aplican a sus estudios Aparici y García-Matilla (1987), inversamente proporcional al grado de abstracción. De estos cinco elementos, fueron especialmente los dos últimos –quizá por incidir directamente sobre la imagen–, el recuadro blanco y, sobre todo, el color, los que caracterizaron y determinaron el futuro estético del programa de mano en las décadas venideras. Con respecto a la trascendental y significativa instauración del recuadro blanco o marco-objeto en el diseño de los programas de mano sencillos, primeramente creemos necesario justificar la razón de anteponer estos enfáticos adjetivos al caracterizar ese singular hecho o, dicho de otra forma, explicar la crucial importancia que adquirió el establecimiento de ese simple margen o espacio blanco que bordea y acota la imagen del programa de mano. Debemos, a su vez, matizar la diferencia entre el llamado marco-objeto, que es la frontera material, geométrica y tangible que media entre la imagen y el extremo del papel, y el denominado marco-límite, que se identifica con el borde mismo de la imagen, en otro sentido, no tan tangible. Este último ha llegado a ser considerado como su "límite sensible" y, como tal, ha estado presente desde el mismo nacimiento del programa de mano como imagen representada. De acuerdo con Jacques Aumont (1992b) y dentro de esta consideración de marco-objeto, el margen o recuadro blanco y, por extensión, el programa de mano que ha incorporado este nuevo elemento, participa de las funciones consustanciales al mismo: 1. Visual o perceptiva: Al aislar la imagen del exterior singulariza su percepción, haciéndola más nítida. Ejerce un importante papel de transición visual entre el interior y el exterior del programa de mano. Efectúa una mediación que posibilita el paso, no demasiado brusco, de lo interior a lo exterior. 2. Simbólica: Establece un peculiar índice que faculta al espectador para tener la evidencia y certeza de que está observando un programa de mano convencional. Como toda función simbólica, ésta es distinta según los simbolismos en vigor en cada época y es susceptible de variación conforme a los usos adoptados por los distribuidores y, consecuentemente, por el público cinematográfico. 3. Representativa: El marco aparece como una abertura que da acceso a la diégesis figurada por la imagen, al cosmos imaginario representado por el séptimo arte. Este fenómeno ya fue descrito en el Renacimiento por el matemático León Battista Alberti con su metáfora del marco como "ventana abierta al mundo". 4. Económica: El enmarque efectúa una especie de valoración de la imagen o escena contenida en el programa de mano. Esto tiene claros antecedentes en la antigua Grecia donde el vocablo “economía” significaba regulación de la imagen, y en Bizancio donde por “iconomía” se entendía el juego normal de los iconos – representaciones que participan de la naturaleza de la cosa representada– o imágenes conforme a reglas ideológicas que las definían. 5. Retórica: Difícilmente separable de los valores simbólicos y representativos, antes explicados, podría hablarse de una verdadera "retórica del marco" con figuras cristalizadas y recurrentes. Se comprende ese margen blanco como algo que profiere un discurso materializado sobre un objeto parcial de deseo, no intencionado ni codificado –lo que Barthes (1989) denomina punctum–, que es aprehendido posteriormente por el destinatario del programa de mano. Desarrollemos esta esquemática argumentación, apoyándonos para ello en ejemplos concretos de programas de mano que evidencian, una por una, las cinco vertientes de la múltiple funcionalidad del margen blanco. 1. La primera función, la visual o perceptiva, es la de hacer de intermediario y forzosamente paradójico como todo intermediario –según sostiene Aumont (1997)–, es decir, integrar el programa de mano en su entorno y separarlo de él visiblemente al mismo tiempo. Esto último parece sencillo y, al mismo tiempo, evidente: el margen blanco aísla, por necesidad, de un exterior desconocido, ya que ignoramos frente a qué tipo de superficie será contrastado. Por tanto, necesariamente ejercerá de separación con respecto a su entorno. Ahora bien, ¿cómo integrarlo a la vez en ese mismo entorno que, como dijimos, es completamente desconocido? Los diseñadores de la Metro dieron respuesta a este interrogante utilizando, de forma sistemática, colores pastel o tonalidades suaves y tenues para el fondo de los programas de mano, con lo que conseguían un doble objetivo: resaltaban los elementos a destacar, esto es, títulos, logotipo e imagen de actores, y obtenían esa delicada transición entre el fondo y el recuadro, que permitía, en última instancia, la más sutil de las integraciones posibles de un programa con su eventual entorno. Podemos citar innumerables ejemplos de este tipo de suave transición. Sirvan de referencia estos pocos: a) La combinación de fondo amarillo con borde blanco es utilizada en los programas de mano de La hermana blanca (The White Sister), de Victor Fleming; La melodía de Broadway (Broadway Melody of 1936) –una de sus variantes, ya que existen varios modelos–, de Roy del Ruth; Laurel y Hardy en el Oeste (Way Out West), de James W. Horne; Quesos y besos (Swiss Miss), de John G. Blystone; Suzy (Suzy) y Mata Hari (Mata Hari), de George Fitzmaurice; Honduras de infierno (Hell Bellow), de Jack Conway, y La viuda alegre (The Merry Widow), de Ernst Lubitsch. b) La combinación de fondo anaranjado con borde blanco es usada en los programas de mano de Sucedió en China (Too Hot to Handle), de Jack Conway; Ella, él y http://www.ull.es/publicaciones/latina/2002jwillisjunio5108.htm Willis García-Talavera, James F., 2002: La estandarización de formatos ... Página 2 de 6 Asta (After the Thin Man) y Te quiero otra vez (I Love You Again), de W. S. van Dyke; Vivamos hoy (Today We Live), de Howard Hawks; La llama eterna (Smilin´ Through), de Sidney Franklin; No más mujeres (No More Ladies), de Edward H. Griffith, así como en La espía de Castilla (The Firefly) y Primavera (Maytime), ambas dirigidas por Robert Z. Leonard con Jeanette Mac Donald como protagonista. c) La combinación de fondo azul celeste con borde blanco se eligió para los programas de mano de Esta mujer es mía (I Take this Woman) y Otra reunión de acusados (Another Thin Man), de W.
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