Distancias : hacia un régimen estético-político de la imagen-movimiento

Detalles Bibliográficos
Publicado en:	Espacio, tiempo y forma. Serie VII, Historia del arte. No. 8 (2020),465-484. Madrid : Universidad Nacional de Educación a Distancia. Facultad de Geografía e Historia, 2020
Autor Principal:	Galak, Eduardo
Formato:	Artículo
Temas:	Estética Política Cuerpos Imagen Movimiento Aesthetics Politics Bodies Image Movement
Acceso en línea:	https://www.memoria.fahce.unlp.edu.ar/art_revistas/pr.13466/pr.13466.pdf http://sedici.unlp.edu.ar/handle/10915/119562 https://ri.conicet.gov.ar/handle/11336/181354
Resumen:	Se interpelan las tensiones en las distancias entre sentidos estéticos y discursos políticos a partir de analizar las revoluciones técnicas y estéticas que se produjeron en la cinematografía de la década de 1920. Para ello se analizan tres largometrajes: Metrópolis, de Fritz Lang (1927), Berlín. Sinfonía de una ciudad, de Walter Ruttmann (1927) y El hombre de la cámara, de Dziga Vértov (1929). En ellos la ciudad se presenta como escenario donde los cuerpos se mueven, narrado por un conjunto de imágenes cuyo montaje se proyecta como el compás armónico de un régimen estético-político de la imagen-movimiento. En el hiato entre educar con la mirada y educar la mirada se trasluce la distancia entre lo que Jacques Rancière denomina como la "estética de la política" y la "política de la estética". Lo cual, confrontándolo con Walter Benjamin, posibilita observar las distancias entre imágenes, entre técnicas, entre originalidades y reproducciones, entre la estética y la política. The aim is to analyze the distances between aesthetic senses and political speeches by technical and aesthetical cinematography revolutions happened in the 1920s.This is observed at three feature films: Metropolis (Fritz Lang, 1927), Berlin. Symphony of a Metropolis (Walter Ruttmann, 1927) and The Man with a Movie Camera (Dziga Vértov, 1929). At those films the city is exhibited as a scenario where bodies are moving, narrated by a set of images whose assembly is projected as the harmonic compass of an aesthetic-political regime of the image-movement. In the hiatus between educating with the gaze and educating the gaze itself, the distance between what Jacques Rancière called as the "aesthetics of politics" and the "politics of aesthetics" is studied. Confronting this with Walter Benjamin's theory, it is possible to observe the distances between images, between techniques, between originality and reproduction and between aesthetics and politics.
Descripción Física:	p.465-484
ISSN:	ISSN 1130-4715

MARC


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100			\|a Galak, Eduardo \|u Universidad Nacional de La Plata. Facultad de Humanidades y Ciencias de la Educación. Instituto de Investigaciones en Humanidades y Ciencias Sociales (IdIHCS-FaHCE-UNLP)
245	1	0	\|a Distancias \|b : hacia un régimen estético-político de la imagen-movimiento
246	3	3	\|a Distances \|b Towards an aesthetic and political image-movement regime
041		7	\|2 ISO 639-1 \|a es
300			\|a p.465-484
520	3		\|a Se interpelan las tensiones en las distancias entre sentidos estéticos y discursos políticos a partir de analizar las revoluciones técnicas y estéticas que se produjeron en la cinematografía de la década de 1920. Para ello se analizan tres largometrajes: Metrópolis, de Fritz Lang (1927), Berlín. Sinfonía de una ciudad, de Walter Ruttmann (1927) y El hombre de la cámara, de Dziga Vértov (1929). En ellos la ciudad se presenta como escenario donde los cuerpos se mueven, narrado por un conjunto de imágenes cuyo montaje se proyecta como el compás armónico de un régimen estético-político de la imagen-movimiento. En el hiato entre educar con la mirada y educar la mirada se trasluce la distancia entre lo que Jacques Rancière denomina como la "estética de la política" y la "política de la estética". Lo cual, confrontándolo con Walter Benjamin, posibilita observar las distancias entre imágenes, entre técnicas, entre originalidades y reproducciones, entre la estética y la política.
653			\|a Estética
653			\|a Política
653			\|a Cuerpos
653			\|a Imagen
653			\|a Movimiento
520	3		\|a The aim is to analyze the distances between aesthetic senses and political speeches by technical and aesthetical cinematography revolutions happened in the 1920s.This is observed at three feature films: Metropolis (Fritz Lang, 1927), Berlin. Symphony of a Metropolis (Walter Ruttmann, 1927) and The Man with a Movie Camera (Dziga Vértov, 1929). At those films the city is exhibited as a scenario where bodies are moving, narrated by a set of images whose assembly is projected as the harmonic compass of an aesthetic-political regime of the image-movement. In the hiatus between educating with the gaze and educating the gaze itself, the distance between what Jacques Rancière called as the "aesthetics of politics" and the "politics of aesthetics" is studied. Confronting this with Walter Benjamin's theory, it is possible to observe the distances between images, between techniques, between originality and reproduction and between aesthetics and politics.
653			\|a Aesthetics
653			\|a Politics
653			\|a Bodies
653			\|a Image
653			\|a Movement
856	4	0	\|u https://www.memoria.fahce.unlp.edu.ar/art_revistas/pr.13466/pr.13466.pdf
952			\|u https://www.memoria.fahce.unlp.edu.ar/art_revistas/pr.13466/pr.13466.pdf \|a MEMORIA ACADEMICA \|b MEMORIA ACADEMICA
856	4	1	\|u http://sedici.unlp.edu.ar/handle/10915/119562
856	4	1	\|u https://ri.conicet.gov.ar/handle/11336/181354
773	0		\|7 nnas \|t Espacio, tiempo y forma. Serie VII, Historia del arte. \|g No. 8 (2020),465-484 \|l 8 \|q 465-484 \|d Madrid : Universidad Nacional de Educación a Distancia. Facultad de Geografía e Historia, 2020 \|x ISSN 1130-4715
542	1		\|f Esta obra está bajo una licencia Creative Commons Atribución-NoComercial 4.0 Internacional \|u http://creativecommons.org/licenses/by-nc/4.0/

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Distancias : hacia un régimen estético-político de la imagen-movimiento

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