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Catálogo Videoteca Unicaja Videoteca Unicaja Certamen Unicaja de Cine Bienal Internacional de Cine Científico Créditos Edita Servicio de Publicaciones de la Fundación Unicaja C/ San Juan de Dios, 1-6º 29015 Málaga D.L. GR-2488-06 I.S.B.N. 84-95979-49-7 Impreso en España - Printed in Spain © de la presente edición, Fundación Unicaja Diseño Oreille Documentalista Mª del Pilar Rodríguez Luque Imprime SanPrint Reservados todos los derechos. Queda prohibido reproducir parte alguna de esta publicación, su tratamiento informático o la transcripción por cualquier medio eletrónico, mecánico, reprografía u otro sin el permiso previo y por escrito del editor. ÍNDICE Presentación 007 Videoteca Unicaja 011 Normalización de la base de datos 014 Catálogo de Vídeos 029 Divulgación Científica 031 Docente 361 Investigación 375 Listado de países 399 Listado de productoras 403 Palmarés del Certamen (1977-2004) 407 Carteles del Festival 411 Bibliografía 435 PRESENTACIÓN PRESENTACIÓN En un mundo vertebrado literalmente por la ciencia y sus aplica- ciones, el acceso al conocimiento es una de las claves para que los ciudada- nos podamos entender el mundo que nos rodea y ejercer nuestros derechos Videoteca Unicaja cívicos con responsabilidad. En este sentido, el cine científico ha sido desde sus orígenes instru- mento de investigación, docencia, comunicación y documentación, sin embar- go, en la mente de muchos de los cineastas nacionales, tan sólo existe una idea vaga de que el cine nació de la ciencia. Según los expertos en la mate- ria, esta podría ser la razón de que en nuestro país no ha tenido nunca la con- sideración que ha merecido en otros países, no ha contado con un apoyo ofi- cial adecuado, ni ha dispuesto de estructuras capaces de ofrecer a los reali- zadores y a los científicos facilidades para utilizar técnicas sofisticadas o para difundir sus producciones. Desde la Obra Social de Unicaja nos hemos propuesto conseguir que la divulgación científica a través del cine se consolide como objeto de investigación, y se convierta en asunto prioritario de una sociedad tan cam- biante como inquieta, no sólo con la organización del Certamen Unicaja de Cine. Bienal Internacional de Cine Científico, sino también conservando y haciendo accesibles las producciones que en él participan. Y es que el poder de la televisión y el cine como arma de difusión científica ha sido demostrado por distintos estudios realizados a partir de la década de los ochenta.Algunos llegan incluso a afirmar que se trata de unos medios indispensables para afrontar la compleja tarea de comunicar la cien- cia, de forma que resulte interesante e inteligible para el ciudadano medio, que hasta hace relativamente poco asociaba la ciencia con introvertidos seres, que movidos por motivos arcanos, permanecían día y noche en labo- ratorios subterráneos. A la hora de comunicar ciencia, los medios audiovisuales presentan notables ventajas respecto a otros medios. La primera es su capacidad para mostrar a través de imágenes experimentos y procesos científicos que pue- den despertar el interés del público. Además, permite visualizar en tres dimensiones determinadas realidades de naturaleza compleja, para facilitar la comprensión de su estructura y funcionamiento. 8 A pesar de este gran potencial e importancia objetiva, la ciencia ocupa un lugar relativamente marginal en los medios audiovisuales de nues- tros días. En un mercado, donde los índices de audiencia sirven como refe- rencia casi exclusiva para valorar el éxito de un programa, los contenidos científicos encuentran importantes barreras para conseguir un espacio en las parrillas de programación. Sin embargo, debemos pensar que no es sólo el ciudadano de a pie quien se beneficia de la grabación de los avances científicos y tecnológicos. El material fílmico sirve a posteriores generaciones de investigadores como apoyo y base documental de sus estudios. Es por ello que la Obra Social pone a disposición de todo aquel que lo desee las más de 1.200 cintas que han participado en las diferentes edicio- nes del Certamen Unicaja de Cine. Bienal Internacional de Cine Científico desde que se pusiera en marcha en 1977.Y es justamente gracias a la cele- bración de estos eventos que la producción nacional ha aumentado en can- tidad y en calidad pudiendo competir al nivel de las grandes productoras internacionales en cualquiera de las tres categorías a concurso: científico-téc- nica, humanístico-social e investigación. 9 VIDEOTECA UNICAJA La procedencia de los vídeos que la integran son en su mayoría aquellas películas que han participado en el Certamen Unicaja de Cine: Bienal Internacional de Cine Científico, que comenzó siendo la Semana Internacional de Cine Científico (SICIC) y que se celebra desde hace más de 25 años en Ronda. Asimismo, en la videoteca se encuentran copias de los palmarés de distintos festivales internacionales que han participado en lo que se ha llamado sec- ción paralela 'Festival de Festivales...', así como las distintas mesas redondas celebradas en torno a temas de actualidad y especiales dedicados los filmes de los hermanos Lumière, Buster Keaton, Laurel & Hardy, etc. En diciembre de 2003, Unicaja firmó un convenio con la Asociación Española de Cine Científico (ASECIC) y el Museo Nacional de Ciencias Naturales en el que se cedían los fondos de la Videoteca Unicaja a la Mediateca del Centro Superior de Investigaciones Científicas para apoyar la difusión de productos audiovisuales de investigación científica. La tipología y temática de los documentos es muy variada, teniendo en cuen- ta los diversos temas del concurso: investigación, científico-técnica y humanístico-social. El estado de conservación de los vídeos no sobresale por su calidad, ya que muchos de ellos, en su mayoría pertenecientes a los realizados en los años 70 y 80, tienen defectos de imagen y sonido. Los vídeos son de gran variedad de formatos, con lo que se les puede clasi- ficar en tres grandes grupos: formatos domésticos, profesionales y de com- ponentes. De esta manera: Formatos domésticos: - VHS (Video Home System), desarrollado en 1976 por JVC (Japan Victor Company) y que evolucionó al S-VHS. - Hi 8, evolución del 8 mm creado en 1982 por Sony, Hitachi, Matsushita, JVC y Philips. - DVD (Digital vides Disc) es un formato inclasificable pues es de uso tanto doméstico como profesional. 11 Formatos profesionales, con mayor calidad de imagen y sonido, así como aguante, de uso muy frecuente: - U-Matic, creado a principios de los 70 por Sony. - 16 mm - DVD Videoteca Unicaja Formatos en componentes, caracterizados por su alta calidad de grabación: - Betacam, de Sony,cuyo principal rasgo es que recibe la señal por componentes. Además existen tres sistemas de vídeo: el NTSC (525 líneas, 60 Hz), utilizado en Estados Unidos, y SECAM y PAL (625 líneas, 50 Hz), usados en Europa. Para una correcta y uniforme representación de la información de los vídeos en la base de datos, se procedió a la elaboración de un manual de normali- zación que recogiera tanto las pautas para la introducción de datos como para el formato de cada campo. Ello incluía además un paso importante: el uso de diversos manuales y datos públicos como son la clasificación jerárquica del conocimiento realizada por la UNESCO, la Lista de Encabezamientos de Materia de las Bibliotecas Públicas y el listado de países reconocidos actualmente de manera normalizada en la Red de Bibliotecas del C.S.I.C. A continuación se explican con minuciosidad todos los detalles de este manual: - El visionado de los fondos se realizó simultáneamente a la introducción de información en la base de datos. - Documentar cada vídeo ha requerido bastante tiempo físico, al ser necesa- rio un visionado completo para la realización de dos tareas: la catalogación o recogida de datos formales y de contenido del documento, y la indización, que es la elección de descriptores o palabras-clave que los representen, para posteriormente introducirlos en los campos correspondientes. - Durante el proceso de visualización de los vídeos se han tenido en cuenta detalles como la existencia de vídeos duplicados o la calidad de la imagen y el sonido de los mismos. -Simultáneamente se iban introduciendo los datos de taxonomía en los vídeos que lo precisaran, tomando como modelo y fuente de información el Nuevo Espasa ilustrado: diccionario Enciclopédico de 2003, cuyos datos se encuentran especificados en la bibliografía. 12 13 NORMALIZACIÓN DE LA BASE DE DATOS Las normas aquí contenidas han servido como guía a los documen- talistas para catalogar y clasificar los documentos pertenecientes a los fon- Videoteca Unicaja dos de la Videoteca Unicaja y se basan en la Normalización de la Mediateca del CSIC, situada en el Museo Nacional de Ciencias Naturales. NORMAS GENERALES - Solamente se rellenan los campos cuyo contenido se conoce con seguridad; en caso contrario permanecerán en blanco. - Escribir en formato frase (mayúsculas sólo la primera letra de la frase) excepto cuando las reglas ortográficas indiquen lo contrario (nombres propios...). - Todas las palabras se escriben desarrolladas, aunque tengan sus acrónimos (Cu, Al...) o abreviaturas (admón., Excmo.), excepto los casos de entidades explicados en el siguiente apartado. - Los nombres de entidades irán siempre desarrollados aunque exis- ten las siguientes excepciones: MNCN, CSIC, CIEMAT, WWF (sin puntos). No obstante, en el caso de las productoras, de las que nor- malmente es complicado conocer o averiguar su nombre completo, y datos de ficha técnica sí pueden introducirse las siglas (ej: Tragsa, Uned). - El idioma a utilizar será siempre siempre que sea posible el caste- llano, excepto para los campos Género y Especie, que irán en latín, y para Título original y Productora, en los que se usará el idioma original del vídeo. - Para solucionar cualquier duda al rellenarse los campos geográficos (Comunidad autónoma, Provincia y Municipio) y taxonómicos (Reino, Filo, Clase, Orden, Género y Especie) se ha utilizado la información que daba el propio vídeo y el diccionario enciclopédico que aparece reseñado en la bibliografía.
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