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- Sergi Sánchez holds a Ph.D. in Film and Media Studies from Universitat Pompeu Fabra (UPF), where he teaches digital c... moreSergi Sánchez holds a Ph.D. in Film and Media Studies from Universitat Pompeu Fabra (UPF), where he teaches digital cinema and television history. He is also the head of the Film Studies department at ESCAC (Escola de Cinema i Audiovisuals de Catalunya). He is the author of "Hacia una imagen no-tiempo: Deleuze y el cine contemporáneo". He also collaborated in the recent "Post-Cinema. Theorising the 21st Century Film" (Reframe Books, 2016). He worked as a Programming Manager for TCM Spain between 2000 and 2003, and he contributes to various Spanish newspapers as a film and literary critic. He has published several books on cinema (on Akira Kurosawa, Terry Gilliam, Michael Winterbottom, Hal Hartley, and cinema and electronic music) and articles in collections (on Abel Ferrara, Dario Argento and Jacques Demy, among others).edit
El director frances Claude Chabrol murio el pasado 12 de septiembre a los 80 anos. Con el, desaparece el estomago de la Nouvelle Vague, el que dirigio las miserias de la burguesia de provincias en clave de cine negro.
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En Arrastrame al infierno Sam Raimi habla del Diablo, el dinero y el alma. Hemos buscado no una, sino las siete almas del director que empezo haciendo cine entre amigos y que, poseido ppor el mismo espiritu ludico de sus inicios, acabo... more
En Arrastrame al infierno Sam Raimi habla del Diablo, el dinero y el alma. Hemos buscado no una, sino las siete almas del director que empezo haciendo cine entre amigos y que, poseido ppor el mismo espiritu ludico de sus inicios, acabo subiendose por las paredes por unos cuantos millones de dolares.
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La filmación documental de la intimidad, ¿puede convertirse en un gesto político? Si en lo íntimo, como dice Nora Catelli, reside la vía para comprender la Historia como síntoma, este artículo pretende demostrar cómo se traduce ese gesto... more
La filmación documental de la intimidad, ¿puede convertirse en un gesto político? Si en lo íntimo, como dice Nora Catelli, reside la vía para comprender la Historia como síntoma, este artículo pretende demostrar cómo se traduce ese gesto en imágenes a partir de métodos aparentemente opuestos: el de los hermanos Maysles, afiliado a la exterioridad del cine directo, en Grey Gardens; y el de Chantal Akerman, afín a la interioridad del ensayo autobiográfico, con la propia directora como objeto de estudio. ¿Qué une a ambos ejemplos? Partir de la experiencia traumática de la Historia, manifestada en la singularidad de conflictivas relaciones materno-filiales.Can the documentary filming of intimacy become a political gesture? If in the intimate, as Nora Catelli states, lies the way to understand history as a symptom, this article aims to show how this gesture is translated into images from seemingly opposite methods: the Maysles brothers' gesture affiliated to the exteriorness of direc...
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espanolLa filmacion documental de la intimidad, ?puede convertirse en un gesto politico? Si en lo intimo, como dice Nora Catelli, reside la via para comprender la Historia como sintoma, este articulo pretende demostrar como se traduce ese... more
espanolLa filmacion documental de la intimidad, ?puede convertirse en un gesto politico? Si en lo intimo, como dice Nora Catelli, reside la via para comprender la Historia como sintoma, este articulo pretende demostrar como se traduce ese gesto en imagenes a partir de metodos aparentemente opuestos: el de los hermanos Maysles, afiliado a la exterioridad del cine directo, en Grey Gardens; y el de Chantal Akerman, afin a la interioridad del ensayo autobiografico, con la propia directora como objeto de estudio. ?Que une a ambos ejemplos? Partir de la experiencia traumatica de la Historia, manifestada en la singularidad de conflictivas relaciones materno-filiales. EnglishCan the documentary filming of intimacy become a political gesture? If in the intimate, as Nora Catelli states, lies the way to understand history as a symptom, this article aims to show how this gesture is translated into images from seemingly opposite methods: the Maysles brothers' gesture affiliated to the exteri...
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El mas acertado sinonimo de Scorsese es cine. Y a este termino le ha salido una nueva acepcion: 3D. Si a ambos conceptos le unimos familiar, oda al septimo arte y adaptacion de un libro fabuloso, damos con "La invencion de... more
El mas acertado sinonimo de Scorsese es cine. Y a este termino le ha salido una nueva acepcion: 3D. Si a ambos conceptos le unimos familiar, oda al septimo arte y adaptacion de un libro fabuloso, damos con "La invencion de Hugo". El cineasta nos da las claves de su nuevo trabajo.
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?Que consideramos "interpretacion"??Puede una "actuacion vocal" no solo ser apreciada, sino incluso premiada? El reciente caso de Scarlett Johansson en el film de Spike Jonze 'Her' provoca una serie de... more
?Que consideramos "interpretacion"??Puede una "actuacion vocal" no solo ser apreciada, sino incluso premiada? El reciente caso de Scarlett Johansson en el film de Spike Jonze 'Her' provoca una serie de reflexiones sobre el star system y el trabajo del actor del siglo XXI.
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Lejos quedan los tiempos en que le llamaban "El rey del horror venereo". Creador de formas purulentas y filosofo de los misterios del organismo, el canadiense David Cronenberg es uno de los grandes autores del cine contemporaneo... more
Lejos quedan los tiempos en que le llamaban "El rey del horror venereo". Creador de formas purulentas y filosofo de los misterios del organismo, el canadiense David Cronenberg es uno de los grandes autores del cine contemporaneo y un director empenado en transformar los generos. El estreno de "Promesas del Este" Es un buen momento para explorar los secretos de su obra, tan compleja como controvertida.
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Rossellini’s year zero is also a year zero for images: the year when the cinema depicts a teenager committing suicide is the year when the innocence of the movement-image seems insufficient to understand a world ripped apart. It is... more
Rossellini’s year zero is also a year zero for images: the year when the cinema depicts a teenager committing suicide is the year when the innocence of the movement-image seems insufficient to understand a world ripped apart. It is Jacques Rancière who calls into question the relationship established by Deleuze between his taxonomy of the film image and the unfolding of History. Deleuze warns us that he is not writing a history of cinema but a classification of signs, and Rancière shows that Deleuze, like Bresson, aims to draw a map of the things of the world, some kind of natural philosophy where “the image need not be constituted at all” because, following Henri Bergson, “[i]t exists in itself”. The sudden and emphatic connection between the time-image and the postwar period may seem to contradict Deleuze’s assertion that he doesn’t want to write a history of images, but in fact it does not. Deleuze is definitely indebted to André Bazin, the first theorist to admit Neorealism look...
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... 2009 MAR; (1985) Página(s): 70-71 ISSN: 11364351 Resumen: La general mediocridad de la Berdinale fue compensada por el palmarés, que premió a la hispano-peruana "La teta asustada" ya la uruguaya "Gigante": el... more
... 2009 MAR; (1985) Página(s): 70-71 ISSN: 11364351 Resumen: La general mediocridad de la Berdinale fue compensada por el palmarés, que premió a la hispano-peruana "La teta asustada" ya la uruguaya "Gigante": el Jurado que presidía Tilda Switon prefirió a los novatos. ...
... 2009 MAR; (1985) Página(s): 70-71 ISSN: 11364351 Resumen: La general mediocridad de la Berdinale fue compensada por el palmarés, que premió a la hispano-peruana "La teta asustada" ya la uruguaya "Gigante": el... more
... 2009 MAR; (1985) Página(s): 70-71 ISSN: 11364351 Resumen: La general mediocridad de la Berdinale fue compensada por el palmarés, que premió a la hispano-peruana "La teta asustada" ya la uruguaya "Gigante": el Jurado que presidía Tilda Switon prefirió a los novatos. ...
Rossellini’s year zero is also a year zero for images: the year when the cinema depicts a teenager committing suicide is the year when the innocence of the movement-image seems insufficient to understand a world ripped apart. It is... more
Rossellini’s year zero is also a year zero for images: the year when the cinema depicts a teenager committing suicide is the year when the innocence of the movement-image seems insufficient to understand a world ripped apart. It is Jacques Rancière who calls into question the relationship established by Deleuze between his taxonomy of the film image and the unfolding of History. Deleuze warns us that he is not writing a history of cinema but a classification of signs, and Rancière shows that Deleuze, like Bresson, aims to draw a map of the things of the world, some kind of natural philosophy where “the image need not be constituted at all” because, following Henri Bergson, “[i]t exists in itself”. The sudden and emphatic connection between the time-image and the postwar period may seem to contradict Deleuze’s assertion that he doesn’t want to write a history of images, but in fact it does not. Deleuze is definitely indebted to André Bazin, the first theorist to admit Neorealism looks into the inside of human beings when forcing them to look to the outside. But Deleuze takes the Bazinian idea beyond realism and into the field of thought – if we once had nice, organic representations, then due to the crisis of faith in human actions, all we have now is a cliché we tirelessly come back to in order not to forget how worn out it is. That is why Rancière thinks of the movement-image as a philosophy of nature – much closer to Bazin’s theory about realism – and of the time-image as a philosophy of spirit.
Another suicide, also of a child, marks the reincarnation of the time-image in contemporary cinema. Two and a half months before the Twin Towers attack, Spielberg’s A.I flooded Manhattan: feet dangling over an aquatic abyss, David (Haley Joel Osment), a robot with the capacity for unlimited love, discovers that he is nothing but a circuit of cables programmed for affection. His silent wandering through a ruined city is not so different from Edmund’s in Germany Year Zero: the only difference – a big difference – between them is that David, raised in the infinite innocence of Carlo Collodi’s Pinocchio, cannot die.
To some extent, 21st-century cinema has gone through a transit space similar to the David’s immortality: it studied the perseverance of the time-image, it watched the gestures of its body free falling before surviving and transforming into something else. And it did so to confirm the emergence of that “something else” to which it naturally tends, materializing partly thanks to electronic and digital media images, made of pixels or non-time particles (or particles of eternal time, unable to die, like Spielberg’s David).
What if this “something else” was the natural sequel to the brilliant Deleuze cinema theory?
Another suicide, also of a child, marks the reincarnation of the time-image in contemporary cinema. Two and a half months before the Twin Towers attack, Spielberg’s A.I flooded Manhattan: feet dangling over an aquatic abyss, David (Haley Joel Osment), a robot with the capacity for unlimited love, discovers that he is nothing but a circuit of cables programmed for affection. His silent wandering through a ruined city is not so different from Edmund’s in Germany Year Zero: the only difference – a big difference – between them is that David, raised in the infinite innocence of Carlo Collodi’s Pinocchio, cannot die.
To some extent, 21st-century cinema has gone through a transit space similar to the David’s immortality: it studied the perseverance of the time-image, it watched the gestures of its body free falling before surviving and transforming into something else. And it did so to confirm the emergence of that “something else” to which it naturally tends, materializing partly thanks to electronic and digital media images, made of pixels or non-time particles (or particles of eternal time, unable to die, like Spielberg’s David).
What if this “something else” was the natural sequel to the brilliant Deleuze cinema theory?