El plano secuencia: Pedro Costa y la trilogía de Fontainhas
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2012
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UNR Editora
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[ES] Desde la aparición del plano secuencia en forma expresiva con Citizen Kane, tal recurso se convirtió en sinónimo de
modernidad cinematográfica. Ni tanto ni tan poco, el uso del
plano secuencia, generalmente visible, se lo comprendió
como maniera formal y toque de virtuosismo. Con el director
portugués Pedro Costa, es posible entender de qué manera
la crítica y teoría fílmica sobredimensionan criterios esté-
ticos ante lo políticamente correcto. Con la realización de
la trilogía sobre Fontainhas, Costa se ha convertido en uno
de los directores excéntricos más relevantes de los últimos
quince años. El recurrente uso del plano secuencia fílmico
y su persuasión política a través de las imágenes discurre
sobre las condiciones de producción y recepción del cine
contemporáneo, poniendo énfasis en llevar a la luz del día del
escenario audiovisual los sectores excluidos de su Lisboa,
iniciando un periplo que comienza en Fontainhas.
[EN] Since the sequence shot expressively appeared with Citizen Kane, this resource became synonymous with cinematic modernity. Neither that much nor that little, the use of the sequence shot, usually visible, is understood as formal maniera and a touch of virtuosity. With the Portuguese director Pedro Costa it is possible to understand how film criticism and theory favor aesthetic criteria rather than what is politically correct. With the production of the trilogy about Fontainhas, Costa has become one of the most important marginal directors in the last fifteen years. The recurrent use of the film sequence shot and his political persuasion through images run on the conditions of production and reception of contemporary cinema, with a clear intention to bring into the light of audiovisual stage the excluded areas of Lisbon, starting a long journey that begins in Fontainhas.
[EN] Since the sequence shot expressively appeared with Citizen Kane, this resource became synonymous with cinematic modernity. Neither that much nor that little, the use of the sequence shot, usually visible, is understood as formal maniera and a touch of virtuosity. With the Portuguese director Pedro Costa it is possible to understand how film criticism and theory favor aesthetic criteria rather than what is politically correct. With the production of the trilogy about Fontainhas, Costa has become one of the most important marginal directors in the last fifteen years. The recurrent use of the film sequence shot and his political persuasion through images run on the conditions of production and reception of contemporary cinema, with a clear intention to bring into the light of audiovisual stage the excluded areas of Lisbon, starting a long journey that begins in Fontainhas.
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Palabras clave
Costa, Pedro, Cine, Semiótica, Semiotics, Cinema