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UNIVERSIDAD DE LAS ARTES Escuela De Cine Producto Artístico: Realización Cinematográfica Individual Licenciada En Cine

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UNIVERSIDAD DE LAS ARTES Escuela De Cine Producto Artístico: Realización Cinematográfica Individual Licenciada En Cine UNIVERSIDAD DE LAS ARTES Escuela de Cine Producto artístico: Realización cinematográfica individual Investigación para desarrollo de proyecto de cortometraje animado Previo la obtención del Título de: Licenciada en Cine Autora: Nataly Estefanía Sandoya Zamora GUAYAQUIL - ECUADOR Año: 2019 Declaración de autoría y cesión de derechos de publicación de la tesis Yo, nombres y apellidos, declaro que el desarrollo de la presente obra es de mi exclusiva autoría y que ha sido elaborada para la obtención de la Licenciatura en (nombre de la carrera que cursa). Declaro además conocer que el Reglamento de Titulación de Grado de la Universidad de las Artes en su artículo 34 menciona como falta muy grave el plagio total o parcial de obras intelectuales y que su sanción se realizará acorde al Código de Ética de la Universidad de las Artes. De acuerdo al art. 114 del Código Orgánico de la Economía Social de los Conocimientos, Creatividad E Innovación* cedo a la Universidad de las Artes los derechos de reproducción, comunicación pública, distribución y divulgación, para que la universidad la publique en su repositorio institucional, siempre y cuando su uso sea con fines académicos. Firma del estudiante *CÓDIGO ORGÁNICO DE LA ECONOMÍA SOCIAL DE LOS CONOCIMIENTOS, CREATIVIDAD E INNOVACIÓN (Registro Oficial n. 899 - Dic./2016) Artículo 114.- De los titulares de derechos de obras creadas en las instituciones de educación superior y centros educativos.- En el caso de las obras creadas en centros educativos, universidades, escuelas politécnicas, institutos superiores técnicos, tecnológicos, pedagógicos, de artes y los conservatorios superiores, e institutos públicos de investigación como resultado de su actividad académica o de investigación tales como trabajos de titulación, proyectos de investigación o innovación, artículos académicos, u otros análogos, sin perjuicio de que pueda existir relación de dependencia, la titularidad de los derechos patrimoniales corresponderá a los autores. Sin embargo, el establecimiento tendrá una licencia gratuita, intransferible y no exclusiva para el uso no comercial de la obra con fines académicos. Miembros del tribunal de defensa Nadia González Castro Tutor del Proyecto Interdisciplinario Carla Valencia Dávila Miembro del tribunal de defensa Rubén Castillo Leguisamo Miembro del tribunal de defensa Agradecimientos: A todos quienes creyeron firmemente en la consecución de este proyecto, aportando su fe, ánimos, recursos, conocimiento, tiempo y dedicación. Resumen El resurgir de la experiencia emocional de los acontecimientos pasados es la razón tras nuestras evocaciones, las cuales pueden ser posibles aún si una vivencia ha sido olvidada: los procesos de recuperación de recuerdos parten realmente de omisiones, adecuadas para la imaginación. La presente investigación tiene como objetivo explorar estos procesos a través del cine de animación, partiendo de la experiencia personal y los objetos de recuerdo. Así, se pretende propiciar una “nueva oportunidad de ser” para ciertas memorias personales, destacando en ello diversos aspectos del habitar humano, la interpretación que el individuo da a su experiencia en el mundo, y cómo todo ello se manifiesta en el arte. Este estudio documenta también el desarrollo de las bases artísticas y técnicas de un proyecto de animación basado en las presentes indagaciones. Palabras Clave: Recuerdos, Persistencia, Transitoriedad, Habitar, Cine de Animación. 1 Abstract The resurgence of the emotional experience of past events is the reason behind our evocations, which may be possible even if that experience has been forgotten: memory recovery processes actually start from omissions, suitable for the imagination. The purpose of this research is to explore these processes through animation cinema, based on personal experience and memorabilia. Thus, it is intended to provide a "new opportunity to be" for certain personal memories, highlighting some aspects of human dwelling, the interpretation that a person gives to their experience in the world, and art as the manifestation of all this connections. This study also documents the development of the artistic and technical bases of an animation project, based on the present inquiries. Key words: Memories, Persistence, Transience, Dwell, Animation Cinema. ÍNDICE GENERAL 1. INTRODUCCIÓN ...................................................................................................... 1 1.1 ANTECEDENTES LOCALES: LA MEMORIA PERSONAL EN EL CINE DE ANIMACIÓN ECUATORIANO ................................................................................................................ 3 1.2 PERTINENCIA DEL PROYECTO ............................................................................... 10 1.3 ALCANCE DEL PROYECTO .................................................................................... 11 1.4 OBJETIVOS ......................................................................................................... 13 2. LOS RECUERDOS Y LAS MORADAS .................................................................. 14 2.1 ESTADO DE LA CUESTIÓN: MEMORIA Y HABITAR ...................................................... 14 2.2 REFERENTES ARTÍSTICOS..................................................................................... 21 3. CUNA ...................................................................................................................... 41 3.1 INTRODUCCIÓN ................................................................................................... 41 3.2 ORIGEN E INTENCIÓN AUTORAL ............................................................................ 41 3.3 PROPUESTA ARTÍSTICA ........................................................................................ 42 3.4 DESARROLLO: TEASER ........................................................................................ 67 4. PROYECTO DE DIFUSIÓN .................................................................................... 79 4.1 APUNTES DE PRODUCCIÓN ................................................................................... 79 4.2 SOBRE COSTOS DE PRODUCCIÓN ......................................................................... 80 4.3 PROYECTO DE CORTOMETRAJE Y TEASER ............................................................. 82 4.4 ESTRATEGIA DE DISTRIBUCIÓN: PROMOCIÓN Y EXHIBICIÓN ...................................... 89 5. CONCLUSIONES ................................................................................................... 98 5.1 TIEMPO DE TRABAJO ........................................................................................... 98 5.2 CONCLUSIONES FINALES .................................................................................... 100 BIBLIOGRAFÍA Y FILMOGRAFÍA ............................................................................. 102 BIBLIOGRAFÍA ............................................................................................................. 102 FILMOGRAFÍA.............................................................................................................. 105 ÍNDICE DE IMÁGENES ILUSTRACIÓN 2.1. FOTOGRAMA DEL FILME “THE LITTLE PRINCE” (2015) ................................. 22 ILUSTRACIÓN 2.2. FOTOGRAMA DEL FILME “THE LITTLE PRINCE” (2015) ................................. 23 ILUSTRACIÓN 2.3. BOCETO CONCEPTUAL DEL BOSQUE, REALIZADO POR EL STAFF DE LA PELÍCULA BAMBI (1942) .............................................................................................. 25 ILUSTRACIÓN 2.4. BOCETO CONCEPTUAL DE BAMBI Y SU MADRE EN EL BOSQUE .................... 25 ILUSTRACIÓN 2.5. BOCETO CONCEPTUAL PARA "BAMBI" (1942) ............................................ 26 ILUSTRACIÓN 2.6. BAMBI ADULTO EN EL BOSQUE (BOCETO CONCEPTUAL) ............................. 26 ILUSTRACIÓN 2.7. GRUPO DE CIERVOS JÓVENES CORRIENDO (BOCETO CONCEPTUAL) ........... 26 ILUSTRACIÓN 2.8. BAMBI: BACKGROUNDS FINALES. ACRÍLICO SOBRE ACETATO ..................... 27 ILUSTRACIÓN 2.9. BAMBI: PERSONAJES SOBRE FONDO. ACRÍLICO SOBRE ACETATO ............... 27 ILUSTRACIÓN 2.10. BAMBI: PERSONAJES SOBRE FONDO. ACRÍLICO SOBRE ACETATO ............. 27 ILUSTRACIÓN 2.11. NIÑOS EN EL BOSQUE, POR YOSHIFUMI KONDO (1950-1998) .................... 29 ILUSTRACIÓN 2.12. PADRE E HIJA EN EL PARQUE, POR YOSHIFUMI KONDO (1950-1998) .......... 29 ILUSTRACIÓN 2.13. BARRIO JAPONÉS AL ATARDECER, POR YOSHIFUMI KONDO (1950-1998) .... 30 ILUSTRACIÓN 2.14. STILL DE LA PELÍCULA MIS VECINOS LOS YAMADA (1999) ......................... 31 ILUSTRACIÓN 2.15. UN ATARDECER EN FAMILIA, SEGÚN MIS VECINOS LOS YAMADA (1999) ...... 31 ILUSTRACIÓN 2.16. LA LLEGADA DE UN HIJO, SEGUN LOS YAMADA ........................................ 32 ILUSTRACIÓN 2.17. VIDA EN FAMILIA, SEGÚN LOS YAMADA ................................................... 32 ILUSTRACIÓN 2.18. KAGUYA, AL LLEGAR A LA TIERRA DESDE LA LUNA ................................... 33 ILUSTRACIÓN 2.19. KAGUYA SONRIENDO AL CORTADOR DE BAMBÚ ....................................... 34 ILUSTRACIÓN 2.20. KAGUYA: DESASOCIEGO ...................................................................... 34 ILUSTRACIÓN 2.21. KAGUYA: FELICIDAD ............................................................................ 35 ILUSTRACIÓN 2.22. ASOMBRO DEL CORTADOR DE BAMBÚ .................................................... 35 ILUSTRACIÓN 2.23. EL RETORNO DE KAGUYA A LA LUNA ...................................................... 36 ILUSTRACIÓN 2.24. ANGEL & CELIST, CHARLIE MACKESY ....................................................
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