Del papel a la pantalla: tensiones y negociaciones en la transposición de tiras cómicas en el cine argentino clásico
In the late 1940’s Argentine film comedy started showing signs of exhaustion, propelling the need for new modes and themes. One of the new alternatives was the adaptation of comic strips that allowed for an exploration of new formal and aesthetic paths within industrial production. These films, insp...
| Main Author: | |
|---|---|
| Format: | Article |
| Language: | English |
| Published: |
Centro Argentino de Investigadores de Arte
2015-12-01
|
| Series: | Caiana: Revista de Historia del Arte y Cultura Visual |
| Subjects: | |
| Online Access: | http://caiana.caia.org.ar/template/caiana.php?pag=articles/article_2.php&obj=202&vol=7 |
| Summary: | In the late 1940’s Argentine film comedy started showing signs of exhaustion, propelling the need for new modes and themes. One of the new alternatives was the adaptation of comic strips that allowed for an exploration of new formal and aesthetic paths within industrial production. These films, inspired by what Jorge Rivera has called ‘marginal literatures’, allowed greater freedom in their transposition. Since comic strips and film presented many common aspects, these adaptations invited their producers to experiment and tighten classic film structures. There are playful uses of visual tricks and editing, a clear tension between Aristotelian narrative and the episodic format of comic strips, and a clear statement of their industrial nature. Unlike film modernity, these ruptures with classicism were not intended as artistic quests but rather as a reinforcement and demonstration of the existing links within massive culture industry. |
|---|---|
| ISSN: | 2313-9242 2313-9242 |