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De Los Libros a La Gran Pantalla Hizkia Filmatua: Liburutik Pantaila Handira

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De Los Libros a La Gran Pantalla Hizkia Filmatua: Liburutik Pantaila Handira La letra filmada: del libro a la gran pantalla Hizkia filmatua: liburutik pantaila handira The word on film: from the paper to the silver screen La letra filmada: de los libros a la gran pantalla Desde el 23 de abril Hizkia filmatua: liburutik pantaila handira Apirilaren 23-tik aurrera ARTIUM- Arte Garaikideko Euskal Zentro-Museoa - Centro-Museo Vasco de Arte Contemporáneo 1 Liburutegi eta Dokumentazio Saila / Departamento de Biblioteca y Documentación Francia, 24 - 01002 Vitoria-Gasteiz. Tf.945-209000 http://www.artium.org/biblioteca.html La letra filmada: del libro a la gran pantalla Hizkia filmatua: liburutik pantaila handira The word on film: from the paper to the silver screen ARTIUM- Arte Garaikideko Euskal Zentro-Museoa - Centro-Museo Vasco de Arte Contemporáneo 2 Liburutegi eta Dokumentazio Saila / Departamento de Biblioteca y Documentación Francia, 24 - 01002 Vitoria-Gasteiz. Tf.945-209000 http://www.artium.org/biblioteca.html La letra filmada: del libro a la gran pantalla Hizkia filmatua: liburutik pantaila handira The word on film: from the paper to the silver screen INTRODUCCIÓN ARTIUM- Arte Garaikideko Euskal Zentro-Museoa - Centro-Museo Vasco de Arte Contemporáneo 3 Liburutegi eta Dokumentazio Saila / Departamento de Biblioteca y Documentación Francia, 24 - 01002 Vitoria-Gasteiz. Tf.945-209000 http://www.artium.org/biblioteca.html La letra filmada: del libro a la gran pantalla Hizkia filmatua: liburutik pantaila handira The word on film: from the paper to the silver screen LA LETRA FILMADA: DEL LIBRO A LA GRAN PANTALLA Una nueva exposición bibliográfica nos introduce en esta ocasión en el apasionante mundo del cine a través de una selección de más de 150 adaptaciones cinematográficas de la literatura universal. Durante la exposición el usuario puede disponer de las novelas –algunas incluso en formato audiolibro- y disfrutar del visionado individual de las películas. Además, se incluye una selección de las mejores bandas sonoras, biografías de grandes directores y actores, ensayos sobre teoría del cine y la adaptación, y un extenso dossier en el que se analiza, una por una, cada película con su correspondiente novela, con una extensa bibliografía para quienes deseen profundizar en el tema. La exposición se complementa con una página web desde la cual se accede a toda esta información y que aporta, desde un punto de vista lúdico, una sección en la que los visitantes podrán demostrar sus conocimientos sobre el tema. Una exposición dedicada a los amantes de la literatura y el Séptimo Arte, con fondos procedentes de la Biblioteca y Centro de Documentación de ARTIUM. INTRODUCCIÓN Para empezar, veremos cuál es la diferencia entre guión original y guión adaptado, según apunta Enrique Martínez-Salanova Sánchez1: El guión original: Cuando el guión se escribe exclusivamente para la película. El cine tiene su propia forma de narrar historias. Es lógico, por tanto, que muchas películas se basen en guiones originales. Desde los inicios del cine, los grandes escritores han colaborado en los guiones cinematográficos. En 1914, el escritor italiano Gabriele D'Annunzio escribió el argumento para Cabiria, en la que había combates navales, erupciones de volcanes y numerosos ejércitos atravesando los Alpes. Cobró por este argumento cincuenta mil liras, que en aquellos tiempos era una cifra exorbitante. En Estados Unidos todos los escritores importantes han escrito para el cine, incluso el famoso premio Nobel William Faulkner. En la actualidad, otro premio Nobel muy famoso, el colombiano Gabriel García Márquez, además de sus novelas, escribe argumentos sólo para el cine. 1 MARTÍNEZ-SALANOVA SÁNCHEZ, Enrique. “De la obra al guión: la obra literaria y el cine” [Recurso en línea]. Universidad de Huelva. Cine y Educación. Dirección URL: <http://www.uhu.es/cine.educacion/cineyeducacion/guionliteratura.htm#El guión adaptado o adaptación cinematográfica> [Consulta: 19 de abril de 2010]. ARTIUM- Arte Garaikideko Euskal Zentro-Museoa - Centro-Museo Vasco de Arte Contemporáneo 4 Liburutegi eta Dokumentazio Saila / Departamento de Biblioteca y Documentación Francia, 24 - 01002 Vitoria-Gasteiz. Tf.945-209000 http://www.artium.org/biblioteca.html La letra filmada: del libro a la gran pantalla Hizkia filmatua: liburutik pantaila handira The word on film: from the paper to the silver screen El guión adaptado o adaptación cinematográfica: Es la adecuación de una historia a los requerimientos específicos de la narración cinematográfica. Comúnmente suele denominarse de este modo la transposición a guión cinematográfico de cuentos, novelas u obras teatrales. A través de los siglos la literatura ha sido fuente de inspiración para todo tipo de manifestaciones artísticas y culturales. La obra literaria se ha transformado en obra de teatro, ópera, pintura o escultura, dando lugar en muchos casos, a obras excepcionales con un lenguaje propio. Del mismo modo, desde el nacimiento del “Séptimo Arte”, novelas y obras de teatro han originado numerosos argumentos de películas. La denominación de “Séptimo Arte” para referirnos al cine, se la debemos al italiano Ricciotto Canudo cuando, en 1911 lo incluyó en el conjunto de las seis Bellas Artes Clásicas: Arquitectura, Escultura, Pintura, Literatura, Teatro y Música. Además, lo consideraba el arte más completo, ya que integra cada una de ellas. La Literatura es el guión, el origen de la historia; la Arquitectura y las artes plásticas son las herramientas de su ambientación y montaje; el Teatro es la aportación de los actores y la Música complementa al producto visual. El cine y la literatura son medios de expresión que comparten su carácter narrativo, y cada uno lo desarrolla a través de un lenguaje diferente. Esta diferencia ha generado desde siempre un debate que tiende a otorgar a la literatura un estatus mayor y a rechazar las adaptaciones. “(…) bien porque la película resume y simplifica las tramas de la historia presente en la novela, bien porque supone una interpretación que se desvía del espíritu del texto escrito –y hasta lo contradice-, bien porque el lenguaje del filme no tiene la envergadura del literario, etc. (…) Pero también hay –y esto se suele olvidar demasiado a menudo- mediocres cuentos, novelas y obras teatrales que “ganan mucho” al ser llevadas a la pantalla. Ello es así porque la película resultante, situada dentro del arte cinematográfico y comparada con otras películas, tiene mayor altura estética que la que posee el texto literario dentro de la literatura y comparada con obras del mismo género. (…) Hay que considerar que el cine prolonga, con un lenguaje propio, esa tradición narrativa y que, en consecuencia, las adaptaciones ofrecen un panorama de niveles y resultados muy plural y, por tanto, no hay que reducirlas a los casos de aprovechamiento comercial del prestigio de la obra literaria”.2 2 SÁNCHEZ NORIEGA, José Luis. “Las adaptaciones literarias al cine: un debate permanente”. Comunicar: Revista Científica de Comunicación y Educación. N. 17, 2001; pp. 65-69. ARTIUM- Arte Garaikideko Euskal Zentro-Museoa - Centro-Museo Vasco de Arte Contemporáneo 5 Liburutegi eta Dokumentazio Saila / Departamento de Biblioteca y Documentación Francia, 24 - 01002 Vitoria-Gasteiz. Tf.945-209000 http://www.artium.org/biblioteca.html La letra filmada: del libro a la gran pantalla Hizkia filmatua: liburutik pantaila handira The word on film: from the paper to the silver screen En definitiva, una película debe ser juzgada en sí misma y olvidarse de la obra de referencia. HISTORIA Como menciona Sánchez Noriega, “la práctica de las adaptaciones de textos literarios al cine es tan antigua como el cine mismo o, más exactamente, como el momento en que el invento de los Lumière deja de ser una atracción de feria para convertirse en un medio de contar historias”.3 En sus orígenes el cine tenía un carácter documental. Su relación con la literatura comienza cuando éste adquiere un lenguaje más narrativo a principios del siglo XX. De la década de 1910 son las primeras películas basadas en clásicos del teatro y la novela, otorgando así un valor más intelectual al cine, como Quo vadis?, 1910 (Enrico Guazzoni). Ya en los años 20 abundan los temas históricos, las óperas y las obras de teatro –entre otras, Napoleón, 1927 (Abel Gance)-. Nosferatu, 1922 (F. W. Murnau) se labró la reputación de ser una de las mejores películas sobre el mito del vampiro y uno de los máximos exponentes del Expresionismo alemán. Numerosos planos de Nosferatu están inspirados en pinturas románticas. Especialmente notable es la influencia de la novela decimonónica -Charles Dickens, R. L. Stevenson, Alejandro Dumas o W. S. Maugham-, en el cine clásico de las primeras décadas del siglo XX. Grandes cineastas como William Wyler, Victor Fleming, Rouben Mamoulian, George Cuckor o David Lean llevaron sus obras a la gran pantalla. Durante las décadas de los 40 y 50 se consolidan géneros cinematográficos como el cine negro o el western. Es una época brillante para el cine, llena de grandes películas basadas en grandes historias literarias: El halcón maltés, 1941 (John Huston) basada en la obra de Dashiell Hammet; Casablanca, 1942 (Michael Curtiz) basada en la novela de Murray Burnett; El sueño eterno, 1946 (Howard Hawks) basada en la obra de Raymond Chandler; Extraños en un tren, 1951 (Alfred Hichcock) basada en la novela de Patricia Highsmith; Centauros del desierto, 1956 (John Ford) basada en una novela de Alan LeMay; Testigo de cargo, 1957 (Billy Wilder) basada en la obra de Agatha Christie, Sed de mal, 1958 (Orson Welles); Historia de una monja, 1959 (Fred Zinnemann) basada en la obra de Kathryn Hulme. “Testigo de cargo es considerada una de las películas de Billy Wilder más críticas y llenas de ironía, además de una de las favoritas del público. Llegó a recaudar casi ocho millones de dólares. La propia Agatha Christie alabó la versión que Wilder hizo de su obra”.4 3 SÁNCHEZ NORIEGA, José Luis. De la literatura al cine: teoría y análisis de la adaptación. Barcelona: Paidós, 2000.
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