Arkadin

Resonancias. Dimensiones del sonido en el cine y las artes audiovisuales

Eduardo A. Russo — 2024-12-11

A lo largo de la historia del estudio y del pensamiento sobre el cine y las artes audiovisuales, el sonido ha padecido durante largo tiempo una situación desfavorecida. Cierta inclinación oculocéntrica ha llevado demasiado a menudo los acercamientos por los territorios que atañen a los ojos. Casi como si referirse al campo de las imágenes debiera comportar un ajuste en términos de experiencias de visión y mirada. Pero, desde la era de los inventos pioneros, la actividad conjunta de la mirada y la escucha estuvo inscripta tanto en el diseño de aquellas máquinas como en la posibilidad de que los espectadores aunaran lo óptico y lo acústico en busca de nuevas aventuras en la vida de las imágenes.

With All This Panic, Sincerely

Catalina Lorente — 2024-12-11

Con todo este pánico, Atte. [With all this panic, Sincerely.] (2024) is the search to represent a look afflicted with stage fright and to break it down through the use of animation. From the cartoon technique, the sensations and perceptions of the protagonist are explored, configuring a subjective world. The drawings articulate the process of the work, from its origin to the result of seeing them narrated in movement.

Elements for A Deepening of Sound and Listening in Cinematographic Work

Gustavo Celedón Bórquez — 2024-12-11

Ideas are developed for learning cinematographic sound from three axes: the incorporation of listening, and the analysis and the experimental use of cinematographic sound. The order is not accidental, as it is based on the development of listening framed in a sensitive openness in cinematographic work. On these bases, the analysis will look for shapes to the plane and the experimentation will test what we call sound ideas here. An opening of the cinematographic work as a work of sensitivity is concluded: it is this perspective that governs a learning of sound in cinema.

Passage of Bodies, Refuge of Specters

Eduardo A. Russo — 2024-12-11

The documentary feature film La Terminal (2023) represents a landmark case of the deepening of cinema as an art of looking and listening. Filmed at the bus station in La Falda, province of Córdoba, Argentina, the documentary is part observation film and part filmed survey to blur these modalities, offering the viewer a platform that explores the limits of what is observable in visual terms, in relation to storytelling, representation, and even figuration in the cinematic image. In terms of listening, the sound spectrum, and especially the voices that punctuate its journey, introducing narrative elements, propose a border experience with the challenges of experimental cinema, while still retaining its own territory: the poetic exploration of reality.

Sound Labyrinths and The Imbalance of The Present in The Image

Tamara Accorinti — 2024-12-11

The sound in Lucía Seles’ cinema functions as a link between emotional situations and thought. It generates interpretive lines that distance the viewer from the unity of action and leads them to establish alternative connections. Seles’ cinema operates in the interstice, in what fails, in the way neurosis constructs and deconstructs emotional relationships. Through the disjunction of image and sound, along with the decomposition of scene editing, the current dimension of the shot houses in her films the virtual dimension of a past that disrupts the present.

History of Uruguayan Popular Music

Juan Pellicer — 2024-12-11

History of Uruguayan Popular Music is a documentary series aired by Uruguayan public television that guides us through musical milestones, prominent authors of Uruguayan popular songs, and the most significant social, political, and economic contexts that occurred between the years 1960 and 2000. This article systematizes the process of constructing the series, focusing on conceptual, methodological, and aesthetic decisions. Additionally, it presents the documentary environment generated from the research conducted for a television series, comprising an online public archive.

Re-construction of Vlasta Lah

Ana Pascal — 2024-12-11

For Being a Woman. The biography of Vlasta Lah is the result of and part of an ambitious research project and multimedia approach to the figure of a pioneer of national cinema who has been practically ignored by history: Vlasta Lah, the first woman to direct a sound feature film in Argentina. The research conducted by Candela Vey, along with Miguel Martin Pereira, transcends a merely biographical approach —which is already tremendously rich and interesting— to place the director’s story in a broader and more complex context.

Argentine Experimental Cinema as a Revelation

Eva Beatriz Noriega — 2024-12-11

The article reviews Una luz revelada. El cine experimental argentino, by Pablo Marín. A historical and analytical study on experimental cinema, through generations of filmmakers from its origins to contemporary creations, the f ilms that conform it and the creative procedures employed. Marín reviews the theoretical status of the Super 8 f ilm format in the light of Argentine experimental creations and elaborates a counterproposal that has singular artistic and poetic implications for understanding and tracing a local genealogy of experimental practice.

Common Imaginaries. Cinema and Situated Experience

Livia Flores Lopes — 2024-12-11

Crossing the fields of art and cinema, the article seeks elements that allow us to bring collaborative aspects of film production closer to so-called community-based artistic practices. Considering that the search for genealogies in the past aims at the present, we carried out a back-and-forth movement in order to present some assumptions of the research entitled Art and cinema in the years 1960 to 1980: otherness and situated experience in Latin America.

Eugenio Cardini’s Return to the Nest

Ana Pascal — 2024-12-11

Conversation with Lorena Bordigoni, audiovisual conservator responsible for the search, discovery and digital restoration of Salida de los obreros, one of the first films made on Argentine soil considered lost for decades.