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5. El Audiovisual Gallego

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5. El Audiovisual Gallego /3 /3 /5 /5 /7 /7 8/ 8/ GRACIAS... A mi directora, Almudena Fernández Fariña, y mi director, Xosé Nogueira, por su apoyo, dedicación y seguimiento. A todas las personas entrevistadas por compartir no solo su tiempo sino también sus ideas, conocimientos e inquietudes. A Blanca y a Jose, por sus consejos y ayuda en la maquetación. A mis padres y a Juan, por todo. /9 /9 [ÍNDICE] 10/ 10/ 1. INTRODUCCIÓN 1.1. A modo de pórtico 19 1.1.2. La evocación de la pintura en el audiovisual gallego contemporáneo 20 1.2. Justificación y contextualización 23 1.3. Objetivos 26 1.4. Metodología 27 1.4.1. Recopilación bibliográfica 28 1.4.2. Recopilación filmográfica y visionado de películas 29 1.4.3. Investigación de campo 30 PRIMERA PARTE 2. EL CINE Y SUS INTERSECCIONES. DEFINICIONES, ESPACIOS E HIBRIDACIONES 2.1. El cine y sus miradas 33 2.2. El binomio cine/videoarte-videocreación 37 2.3. El cine más allá de los márgenes. Mecanismos de difusión 40 3. PAISAJE-PINTURA 3.1. Construir la mirada. El paisaje como consecuencia de la estetización 47 3.2. El paisaje nace con la pintura 50 3.3. Una ventana para asomarse al paisaje 51 3.4. La ruptura de la ventana. Otras estrategias de acercamiento al paisaje 56 /11 /11 4. CINE-PINTURA 4.1. Antecedentes. Lo pictórico fuera del lienzo o por dónde empezar a buscar la pintura 59 4.2. Cine y pintura. Intersecciones y divergencias entre uno y otro medio 63 4.3. Qué es lo pictórico o por dónde empezar a buscarlo 65 4.3.1. Composiciones pictóricas a través de la imagen en movimiento. Effetto pitturato 67 4.3.2. Efectos plásticos de la pintura: gotas, derrames, ralladuras o defectos intencionados sobre el celuloide. Effetto pitturato 70 4.3.3. De lo óptico a lo háptico. Effetto pitturato 72 4.3.4. Efectos lumínicos, cromáticos, compositivos y otros recursos formales que introducen una dimensión pictórica. Effetto quadro 74 4.3.5. Alusiones iconográficas que recrean cuadros célebres de la historia del arte. Effetto quadro 77 4.3.6. Alusiones iconográficas que evidencian la referencia a ciertos estilos pictóricos. Effetto quadro 79 4.3.7. Interés por el medio natural. Alusiones iconográficas a la pin- tura de paisaje. Effetto quadro 81 4.3.8. Importancia de la contemplación. Sensación de tiempo suspen- dido. Effetto quadro 84 4.4. Recapitulación 85 SEGUNDA PARTE 5. AUDIOVISUAL GALLEGO 5.1. La cuestión geográfica. Lo gallego más allá de los marcos 89 5.2. El cine gallego. Una aproximación 92 5.2.1. El cine gallego en sus primeras manifestaciones. Lo exótico como paradigma 92 5.2.2. El audiovisual gallego. Un impulso a la experimentación 98 12/ 12/ 6. AUDIOVISUAL GALLEGO CONTEMPORÁNEO 6.1. El Novo Cinema Galego. Pluralidad y heteredoxia en un cine de múltiples lecturas 107 6.2. El espacio del Novo Cinema Galego. Productoras y canales de difusión 110 7. LO PICTÓRICO EN EL AUDIOVISUAL GALLEGO 7.1. Antecedentes. Estética y plasticidad en la creación audiovisual gallega 115 7.2. Lo pictórico en el audiovisual gallego contemporáneo 118 8. CASOS DE ESTUDIO. CINEASTAS 8.1. Carla Andrade 8.1.1. Trayectoria 121 8.1.2. La poética de lo intangible o el paisaje como abismo 122 8.1.3. Una imagen que se afirma desde lo mínimo. Galicia en la memoria 127 8.1.4. El aspecto estético en la obra de Carla Andrade 128 8.1.5. Pintura y fotografía. Hacia el desplazamiento del lenguaje fílmico 135 8.2. Xurxo Chirro 8.2.1. Trayectoria 139 8.2.2. La plasticidad de lo común 140 8.2.3. Un paisaje que expande sus límites. El espacio estético y cultural 145 8.2.4. Vikingland. La pintura como objeto encontrado 150 8.3. Xisela Franco 8.3.1. Trayectoria 157 8.3.2. Pintar la imagen fílmica. Intervenciones sobre el celuloide 158 8.3.3. El escenario natural y su aproximación estética 161 8.3.4. Anima Urbis. El paisaje como forma de lo real 167 8.3.5. La imagen (trans)formada. Apuntes para un cine expandido 169 /13 /13 8.4. Oliver Laxe 8.4.1. Trayectoria 175 8.4.2. Un nuevo cine necesita nuevos ojos 176 8.4.3. La idea de naturaleza en la filmografía de Oliver Laxe 179 8.4.4. París #1. Retratos de un viaje experiencial 181 8.4.5. Todos vós sodes capitáns 184 8.4.6. Mimosas. Lo sagrado acaricia la pintura 186 8.4.6.1 La representación de lo divino en Mimosas. Diálogos entre pintura y paisaje 188 8.5. Lois Patiño 8.5.1. Trayectoria 195 8.5.2. Construir el paisaje. Diálogos de tiempo y distancia 196 8.5.3. La idea de lo espectral 198 8.5.4. La imagen manda 200 8.5.5. Costa da Morte. La vida que pasa 205 8.6. Miguel Mariño 8.6.1. Trayectoria 212 8.6.2. La pintura a través de lo matérico. El effetto pitturato en la obra de Miguel Mariño 213 8.6.3. Imagina un ojo sin prejuicios 214 8.6.4. Fomos ficando sós 217 8.6.5. Ir e vir. 218 8.7. Alberte Pagán 8.7.1. Trayectoria 221 8.7.2. La estética sin ética es pura cosmética 222 8.7.3. Materialidad y experimentación 223 8.7.4. Un pequeño recorrido estilístico por algunos de los filmes de Alberte Pagán 8.7.4.1. Superficies 224 8.7.4.2. Erros 227 8.7.4.3. Eclipse 230 14/ 14/ 8.7.4.4. Puílha 17 Janeiro 2010 15:33h 231 8.7.4.5. A quem se lle conte... 232 9. CASOS DE ESTUDIO. FILMES 9.1. Chanfaina Lab. Cultura y naturaleza para la pócima de la creación 235 9.1.1. Toxos e flores 237 9.1.2. Trazos 238 9.1.3. SANSa SOLEIL 239 9.1.4. Os aventados 240 9.1.5. Á beira do Aceiteiro 241 9.1.6. Chanfaina 242 9.1.7. Liorta 243 9.1.8. Balada cover 244 9.1.9. A beleza do verán / Cara B 246 9.1.10. Ocultas na paisaxe 246 9.1.11. Soli, soli 248 9.1.12. Tempo morto 249 9.2. Eloy Enciso. Arraianos 9.2.1. Trayectoria 251 9.2.2. Arraianos 251 9.2.2.1. La estética como herramienta emocional 252 9.2.2.2. Un juego de fronteras 257 9.3. Alberto Gracia. O quinto evanxeo de Gaspar Hauser 9.3.1. Trayectoria 260 9.3.2. O quinto evanxeo de Gaspar Hauser 260 9.3.2.1 La pintura como recurso sensorial 263 9.4. Víctor Hugo Seoane. Verengo 9.4.1. Trayectoria 267 9.4.2. Verengo 267 9.4.2.1. Hombre y paisaje. Convivencia y neutralización 268 /15 /15 10. CONCLUSIONES 277 11. ANEXOS. ENTREVISTAS 11.1. Entrevista a Carla Andrade 285 11.2. Entrevista a Xurxo Chirro 295 11.3. Entrevista a Xisela Franco 305 11.4. Entrevista a Oliver Laxe 319 11.5. Entrevista a Lois Patiño 331 11.6. Entrevista a Miguel Mariño 343 11.7. Entrevista a Alberte Pagán 351 11.8. Entrevista a Manuel González sobre Chanfaina Lab 357 11.9. Entrevista a Eloy Enciso sobre Arraianos 367 11.10. Entrevista a Alberto Gracia sobre O quinto evanxeo de Gaspar Hauser 373 11.11. Entrevista a Víctor Hugo Seoane sobre Verengo 379 12. BIBLIOGRAFÍA Y FUENTES 12.1. Libros 385 12.2. Artículos 390 12.3. Webgrafía 395 12.4. Recursos audiovisuales 397 13. PELÍCULAS CITADAS 399 16/ 16/ Fragmento de la imagen de Peter Henry Emerson. A Winter’s Morning, 1887. (Fig.5. Pág. 56) > /17 /17 [INTRO- DUCCIÓN] 18/ 18/ 1. INTRODUCCIÓN 1.1. A modo de pórtico. Lo primero que nos atrapa cuando vemos una película, que seduce nuestra mirada y captura nuestra sensibilidad, es su apariencia iconográfica: cómo está constituida la ima- gen, el color, la luz, la composición... Por ello, hablar de cine es hacerlo de un complejo sistema visual que, de un modo u otro, nos remite a las imágenes que atesoramos en nues- tra retina: a un bagaje iconográfico conformado a partir de nuestra cultura y alimentado de las imágenes de la historia del arte en general y de la tradición pictórica en particular. Así, nuestra comprensión de la imagen depende de ese repertorio que habita y compone la memoria, una memoria que se revela en el lenguaje fílmico a veces de manera consciente y otras inconscientemente por parte de los cineastas. En este sentido, existen diferentes maneras de abordar la imagen fílmica: la cita o alusión directa a determinada iconografía de la tradición pictórica; la experimentación plástica; el relato histórico o el estudio de la construcción estética del cuadro, entre otras. Este último uso es tal vez el que implica mayor sensibilidad artística por parte del director, que deberá explotar el potencial comu- nicador de la imagen atendiendo a su calidad plástica. Desde el nacimiento del medio au- diovisual, entre la pintura y el cine existe una relación recíproca que, gracias a la paulatina hibridación de las disciplinas artísticas, ha podido retroalimentarse para producir nuevos modelos de construcción de la imagen en movimiento. Para profundizar en la cuestión que nos atañe debemos primero tener en cuenta el interés de los artistas por reivindicar nuevos modelos de creación, buscando la experi- mentación y revelándose contra fórmulas tradicionales que acabarían dando paso al diálo- go y la conexión de todas las categorías artísticas. Recordemos cómo artistas como Cara- vaggio, Goya, Friedrich, Turner, Monet o Cézanne, entre otros, introdujeron en sus obras fuertes dosis de innovación tanto a nivel temático como de concepción del espacio, del tratamiento de la luz o la materia pictórica, el color o el dibujo.
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