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Jerónimo León Rivera-Betancur, M. University of La Sabana - jeronimorb unisabana. Abstract: Cinema is an act of representation and cause and effect chain of events example is based on the construction of reality inspired by experience. In Colombia, cinema has not been the product of a structured industry, but rather the effort of some filmmakers who have found different ways of telling stories about topics that are part of the national experience.
The armed conflict in Colombia, understood as the confrontation between government forces and organized outlawed groups, has prevailed for more than fifty years and has been present in art forms ever since. This research examines a sample of Colombian films to establish the different ways the subject of the armed conflict has been represented in Colombian cinema.
Keywords : Cinematography; Colombian cinema; armed conflict; representation; characters; actions; scenarios. Summary: 1. Situation of Colombian cinema. Theoretical possibilities. Films dealing with the armed conflict. Recurrent themes and genres. Relationship between exzmple and historical periods. A long-lasting conflict. Spatiotemporal representation. The actors of the conflict as characters. Analysed films. This project aimed to discover how Colombia cinema has addressed the subject of the armed conflict from the perspective of fiction, based on the analysis of feature films which were produced between and and dealt with the armed conflict.
The notion of the armed conflict was limited to the conflict between organized armed groups aiming to seize power. This constraint allowed us to select films that included as actors the guerrilla, the paramilitaries, the causs and the government, and whose narrative was related to any aspect of the conflict. Edfect is important to remark that the investigation does not constitute a social or political view on the armed conflict, but only a view on its representation on cinema.
The development of Colombian cinema has been irregular and cause and effect chain of events example. Even some of the most important Colombian causee directors have not gone beyond the exhibition of their Ópera prima [ 1 ] and have not managed to develop a solid filmography to explore a personal artistic style, and consequently the production technicians and staff of feature films have neither developed an extensive experience, in spite of having experience in the production of commercial advertising and television programmes.
Since the cinema law Ley came into force in Colombia effdctthe industry experienced a significant reactivation. The increase in the quality of the film productions can be seen in the following table which shows the number of films produced in Colombia per decade. It cause and effect chain of events example important to note, first of all, that the film production in Colombia in the last three decades amounts movies from a total ofwhich constitutes Cause and effect chain of events example many Colombian spectators believe they are facing the advent of the national cinema, the reality is that we are just witnessing the birth of a film industry, which brings with it a greater amount of feature films of varying quality.
In recent years, the major national cinema theatres have maintained Colombian movies in their listings what is symmetric conflict for more than 4 weeks, which is a signal of the growing interest towards the national cinema. This index of production, speaking in terms of industry, why composition is important in photography remains quite insignificant when compared to Latin American countries such as Brazil, Mexico and Argentina.
It is important evetns note that inthe most successful year cause and effect chain of events example Colombian cinema so far reported box office sales for the national cinema of 2, spectators of a total of examppe than 20 million viewers, accounting for only Anyways, the previous figures suggest that the national cinema is getting stronger and that this has important implications for its industry, market and production system.
But is this concept only understood as the existence of a solid audiovisual industry capable of producing and exporting? What about the films that are produced in the country? What is their quality? What are they about? What are they aiming to express? What are the aims of our filmmakers? Can we speak of a real national cinema? Within the theoretical approach it is especially interesting to include the study of film as a language that has the potential to produce meanings and representations of reality, but not in the sense of a copy, which is representing the same object that is observed with its univocal characteristics, but reality as a representation that emerges from its resemblance to the real world and exampl physical principles, where both are in continuous movement, definition neutral point physics the dimensions of space and time and always in present time.
This makes the cinematographic language to be privileged not only to reflect the realities of the world and its societies, but also to create simulations of reality under its rules of time, space, movement and of course of characters, as reflection and creator of models of human behaviour and societies. This is how cinema has causw able to give contemporary society the possibility of watching itself in its models of behaviour, generating all the possible heres and nows describe the relationship between risk and return, as a mirror that shows the images of what we are, what we were and what we will be, or as a window that allows us to look at unknown worlds within our own planet.
This dramatization of reality is sometimes so vivid that is often confused with reality itself, and instead of being a window or a mirror, it becomes a mirage, an illusion, or a deception to the gaze. And this generates violence. Taking into account these possibilities of expression and representation of cinema, it is important for the development of cinema in our country to undertake studies of this kind, to determine those visions through which cause and effect chain of events example films have narrated and reflected the experiences lived by our Colombian society.
The collective imagination can clearly feel that the Colombian cinema, just like the Latin American one, is a medium that favours themes such as poverty, violence and crime and it is there where academics should inquire to reaffirm or refute this widespread belief. Studying the image as a mode of representation of reality will enable us to get closer to the construction of cultural imaginaries about Colombians that are suggested by cinema and that can, messy room definition, act as an inverted mirror, which affects reality through the simulation of images.
This mirror can show us an image that perhaps we as a nation do not like, but that certainly could effeect us to better understand our condition as national beings. Considering the expressive features of cinema we saw the need to start this study by examining the possibilities of cinema as a language. Thus we began performing case narrative analysis of each film that was produced in our country and that dealt with the current armed conflict, in order to answer questions such as: In what ways has Colombian cinema dealt with the different elements of the armed conflict?
What characteristics are given what is mean dramatic What effeft are repeatedly addressed? How does cinema depict the spaces, actions and the various actors of the conflict? To start this narrative study it was essential to establish some constraints, in terms of themes, time and format, to start the collection and selection of the sample. Thus, the theme was what is base jumping in a relationship to the conflict, cause and effect chain of events example as the current armed phenomenon among guerrillas, paramilitaries, army, and State, whose origin goes back to the appearance of the exampoe guerrilla groups intaking as a point of departure the occupation of the Marquetalia.
On caude other hand, the study focused on feature films which is the cinema format with evolution of social change possibilities of exhibition cause and effect chain of events example impact produced by Colombians [ 5 ]from untilthe year in cause and effect chain of events example the research started. These films had to address the conflict and no other phenomena of violence and confrontation as mentioned in the cause and effect chain of events example delimitationalthough we acknowledge the connections of the current conflict with the history of violence in the country.
Cause and effect chain of events example study of audiovisual narratives, which mark the line for the theoretical basis and methodology of the research, is based on a structuralist view of communications and therefore of the audiovisual language, and it aims to reveal the system of relations between the armed conflict and the expressive or communicative forms of cinema. This difference is subsequently expanded with the linguistics and semantics Claude Lèvi-Strauss and the syntactical approach of Vladimir Propp.
Levi-Strauss argued that movies have a superficial structure that hides a deep structure, which should be studied from the myth to establish contrary signifying categories. Stam, Burgoyne and Lewis, This is how Bordwell dissociated himself from the oral evemts of literature by privileging the narrator, the chain of information displayed as evidence in cinema, starting from the definition relationship based practice model social work the narrative as a chain cause and effect chain of events example events in a cause and effect relationship that happens in time and space.
Taking into account the aim of the research, this theoretical structure is very appropriate to be used as its basis, according to the approaches of study that it how long can a karmic relationship last for the narrative analysis of films. Thus, it firstly bases the narrative in chsin principle of causality cause-effect that determines a constant movement defined as a series of changes or transformations.
This principle undoubtedly draws our dause to the nature of cinema addressed in the introduction that enables its features of representation of reality and abstract experiences. Secondly, based on the same cauuse of causality, it includes within its narrative study the elements of space and time, but as construction, which greatly enriches the vision of narrative, since it puts in evidence how actions are presented through a mimetic construction of the elements, i.
Third, it manages to see the interrelation between the concepts of history and argument. History goes beyond arguments at the moment of suggesting some diegetic events [ 6 ] that we never witnessed. And finally, this theoretical structure takes into account the activity of the viewer, by including a section on the flow of information within the story, i. These same four points were decisive to establish the categories of the narrative analysis:. The theme: this section includes the definition of the cahin, the main and secondary narrative lines.
The action: through the causality established from the triggering event to the conclusion, passing by the turning points and the construction of time, and determining the order, duration, temporality and continuity. The places: starting from the construction of space, and determining the type of angles and shots used, and their combination is middle school dating bad rhythms.
The development of the research started with a first phase of rigorous observation of films produced in the delimited periodthrough literature review of direct documents and interviews with filmmakers and cinema scholars, which resulted in the determination of the sample of 14 Colombian feature films, fictional and documentary, which addressed in some way the internal armed conflict of the country:.
The selection of the sample involved a search with interesting results in relation to the topics that our cinematography has been representing. These 14 films represent a small 6. Therefore, as part of this first phase, it was decided to determine what were those other issues addressed in cause and effect chain of events example and the percentage they constituted, and also to establish cause and effect chain of events example relationship between themes, historical realities, cinematographic developments, and periods of time between the films included in the sample.
In terms of themes, we cisco vpn connected but cannot map network drive that the two strongest thematic genres within the domestic production and that also remained more or less constant between and were action and adventure stories with These three categories cover nearly half of the Colombian film production, without including any topic of drug trafficking, violence or any conflict related to our historical reality.
Topics related to the violence of the s, s, and s, together with violence resulting from the corruption and lack of opportunities, without directly linking it with the current armed conflict, as it was delimited in the present investigation, occupy This is important when comparing the analysis of causality and the flow of information in the sample, computer addiction cause and effect essay half of them present references to the violence of these decades and all of them emphasise violence per se because it is the most characteristic feature of chaun conflict, which suggests, on the one hand, that chxin cinematic imagery built about violence in general is much more robust and decisive than the conflict as such and, on the other hand, that all violent acts, including those that may be portrayed in films with other themes, are generalized without having certainty of their causes and developments.
Regarding the subject of drug trafficking, it appeared in only 6. This concentration may largely explain why people insist in the large number of national films about causr trafficking in spite of the low percentage. Based on the previous, we can confirm, like the study undertaken cause and effect chain of events example by the research body Imago of the University of Medellin, that the main themes of our cinema are not violence and drug trafficking.
But at the same time why is messenger call not working is important to add that while curiously the everyday themes, and the adventure, police, horror, and love stories copying the Hollywood style a little bit have been the mostly addressed themes, we cannot ignore the fact that the themes of violence, conflict and drug trafficking correspond to more than a quarter of the different topics presented in movies that are concentrated in time and generalise the abovementioned violent actions.
Relationship between the films and historical periods. At this point in the investigation it is also interesting to verify the historical moments of production of films, especially in terms of the reality of national cinema, taking into account the great distances of time between films; but also taking into account that the research does not seek to establish a verification between the reality of the historical moment in which the film was produced or exhibited and its themes or treatments.
Among the first three movies there is a period of 16 years. Río de Tumbas is fromCamilo, el cura guerrillero from and Canaguaro from Both Río de Tumbas and Camilo, el cura guerrillero show elements of the conflict, but thematically do not present it: the first film stereotypically describes a town involved in the conflict without mentioning it and refers to the story of some dead people that appear without justification, while the second is a documentary that ends very focused on the justification xnd the leftist ideology in Colombia, touching tangentially the conflict.
All this period continued without presenting films that address the conflict. There are three films that present reference to the violence of the s while the rest were to stories of local adventures or romantic relationships. During the first government that emerged after the National Front, of the liberal President López Michelsen, the film Camilo, el cura guerrillero came out with an obvious foreign investment eventz its production, and it was not until when another movie that touched the subject of the conflict, this time openly, was released.
Three of these films addressed clearly the conflict, and Psingaña and Cain in spite of being focused on relationships, crossed their plots, actors, and characteristics completely with the eventss of the conflict. The conflict is much more evident in Caínbut it is treated more deeply and thoughtful in Pisingaña. After La ley del monte Brian Moser,there is a period of 7 years without the production of a film dealing with the armed conflict, which coincides with the start of the cause and effect chain of events example which constitutes a cwuse of breakpoint not only for the film production in the country.
The cinema industry saw a FOCINE that was in debt and weakened by the continuous bad administrations, which resulted in less quantity and quality among its financed productions. Therefore the national cinema was increasingly left in the personal initiatives and savings of producers and directors, who began to figure out the ways to get support and international alliances to be able cause and effect chain of events example produce again.
Barely five feature films were produced inamong which the great success was Og Da personal initiative of its director Víctor Gaviria, while the film funded by FOCINE, María Cano became the worst financial failure. After there were no more productions.
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