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Warning: Cannot modify header information - headers already sent by (output started at /var/www/html/core/lib/class.plx.motor.php:349) in /var/www/html/core/lib/class.plx.feed.php on line 266 Atlante - Revue d'études romanes - Tag carlos-saura
https://atlante.univ-lille.fr/tag/carlos-saura
frFri, 01 Nov 2019 14:51:00 +0100PluXml05.Música, mito e historia de El Dorado : ¿Carlos Saura <em>versus</em> Werner Herzog?
https://atlante.univ-lille.fr/05-musica-mito-e-historia-de-el-dorado-carlos-saura-emversus-em-werner-herzog.html
https://atlante.univ-lille.fr/05-musica-mito-e-historia-de-el-dorado-carlos-saura-emversus-em-werner-herzog.html<p>Marianne Bloch-Robin<br />Université de Lille<br />CECILLE EA 4074<br />p.78-93.</p>
<p> </p><p><strong>Marianne BLOCH-ROBIN, Música, mito e historia de El Dorado : ¿Carlos Saura<em> versus </em>Werner Herzog?</strong></p>
<p style="text-align: justify;"><strong>Resumen.</strong> En este artículo analizamos el papel de la música en la película de Carlos Saura <em>El Dorado </em>(1987) a partir del estudio de la partitura arreglada por el compositor Alejandro Massó. Si bien en la concepción de su película basada en numerosas fuentes histórica, el director aragonés apuesta por oponerse a la obra de Werner Herzog <em>Aguirre,</em> <em>Der Zorn Gottes</em> (1972), también centrada en la aventura del hidalgo vasco Lope de Aguirre en busca de la ciudad mítica de El Dorado, la banda musical, de las que analizamos dos obras más particularmente – <em>La Recercada</em> (1553) de Diego Ortiz y un fragmento del preludio del tercer acto de <em>Tristan und Isolde </em>(1865) de Richard Wagner – contribuye a conferir a la película una dimensión mítica y universal que la desliga en cierta medida de la referencia histórica diegética y la aproxima a la obra de Herzog.</p>
<p><strong>Palabras clave:</strong> Música cinematográfica, Mito, Historia, Carlos Saura, El Dorado</p>
<p> </p>
<p><strong>Marianne BLOCH-ROBIN, Musique, mythe et histoire d’El Dorado : Carlos Saura <em>versus</em> Werner Herzog ?</strong></p>
<p style="text-align: justify;"><strong>Résumé.</strong> Nous analysons dans cet article le rôle de la musique dans le film de Carlos Saura <em>El Dorado</em> (1987) à partir de l’étude de la partition arrangée par le compositeur Alejandro Massó. Dans la conception de son film fondée sur de nombreuses sources historiques, le réalisateur aragonais prend le parti d’une opposition à l’œuvre de Werner Herzog <em>Aguirre,</em> <em>Der </em><em>Zorn Gottes</em> (1972), qui s’attache également à l’aventure de l’hidalgo basque Lope de Aguirre à la recherche de la ville mythique d’<em>El Dorado</em>. Néanmoins, la bande musicale, dont nous analysons plus particulièrement deux œuvres – <em>La Recercada</em> (1553) de Diego Ortiz et un fragment du prélude du troisième acte de <em>Tristan und Isolde</em> (1865) de Richard Wagner – contribue à conférer au film une dimension mythique qui l’éloigne, dans une certaine mesure, de la référence historique diégétique et la rapproche de l’œuvre de Herzog.</p>
<p><strong>Mots clés. </strong>Musique de film, Mythe, Histoire, Carlos Saura, El Dorado</p>
<p><strong> </strong></p>
<p><strong>Marianne BLOCH-ROBIN, </strong><strong>Music, myth and history of El Dorado: Carlos Saura <em>versus</em> Werner Herzog?</strong></p>
<p style="text-align: justify;"><strong>Abstract.</strong>This article analyzes the music’s role in Carlos Saura’s Film <em>El Dorado</em> (1987) according to the study of the score arranged by the composer Alejandro Massó. The conception of the film, based on several historical sources, is build as an opposition to Werner Herzog’s film <em>Aguirre,</em> <em>Der Zorn Gottes</em> (1972), also focused on the adventure of the basque hidalgo Lope de Aguirre pursuing the mythical city of El Dorado. The soundtrack, from which we analyze two pieces in particular – <em>La Recercada</em> (1553) by Diego Ortiz and a fragment of the prelude to the third act of Wagner’s <em>Tristan und Isolde</em> (1865) – contribute to confer to the film a mythical dimension which diverts, to a certain extent, from the historical diegetic reference, and brings it closer to Herzog’s work.</p>
<p><strong>Keywords. </strong>Film music, Myth, History, Carlos Saura, El Dorado</p>
<p><a href="https://atlante.univ-lille.fr/data/images/atlante-10-2/78-93-m.-bloch-robin.pdf">Télécharger l'article complet (Pdf, 1 Mb)</a></p>Fri, 01 Nov 2019 14:51:00 +0100marianne.bloch-robin19. Carlos Saura años cincuenta En el principio era la fotografía
https://atlante.univ-lille.fr/19-carlos-saura-an-os-cincuenta-en-el-principio-era-la-fotografi-a.html
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<p>Nancy Berthier<br /> Sorbonne Université <br />CRIMIC EA 2561<br />p. 355-387. </p>
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<p><strong>Nancy BERTHIER, </strong><strong>« Carlos Saura années 1950 : au commencement était la photographie ».</strong></p>
<p><strong>Résumé.</strong> La première rencontre de Carlos Saura avec la pratique photographique date de la fin des années 1940. A partir de ce moment-là, il n’a cessé d’exercer un art qui, bien qu’il n’ait pas été celui qui l’a rendu célèbre, l’a accompagné toute sa vie durant. Même si cette activité a occupé le premier plan de sa vie artistique et professionnelle dans les années 1950, il ne récupéra que bien plus tard, au début des années 2000, sa production photographique de l’époque, qu’il avait lui-même fait tomber dans l’oubli. Depuis lors, ces images ont circulé largement, imposant, aux côtés du Saura cinéaste, la figure d’un Saura photographe. Ce texte offre un panorama des diverses facettes de sa production photographique de la période, en la contextualisant et en mettant en relief tant sa dimension documentaire que sa dimension proprement artistique.</p>
<p><strong>Mots-clés. </strong>Carlos Saura, Photographie, Années 1950, Espagne.</p>
<p><strong> </strong></p>
<p><strong>Nancy BERTHIER, “Carlos Saura años 1950: en el principio era la fotografía”.</strong></p>
<p><strong>Resumen</strong>. El primer encuentro de Carlos Saura con la práctica fotográfica se remonta a finales de los años cuarenta. A partir de entonces, nunca dejó de ejercer un arte que, a pesar de no ser el que le hizo célebre, lo ha acompañado durante toda su vida. Si bien esta actividad ocupó el primer plano de su vida artística y profesional en los años cincuenta, fue mucho después, a principios de los 2000, cuando sacó del olvido su producción fotográfica de la época, que él mismo había hecho caer en el olvido. Desde entonces, estas imágenes han circulado ampliamente, imponiendo, al lado del Saura cineasta, la figura de un Saura fotógrafo. Este texto se propone ofrecer un panorama de las varias facetas de su producción fotográfica de ese periodo, contextualizándola y poniendo de realce tanto su dimensión documental como propiamente artística.</p>
<p><strong>Palabras clave. </strong>Carlos Saura, Fotografía, Años 1950, España.</p>
<p><strong> </strong></p>
<p><strong>Nancy BERTHIER, “Carlos Saura in the 1950s: In the Beginning was the Photography”.</strong></p>
<p><strong>Abstract.</strong> Carlos Saura’s first encounter with photographic practice dates back to the end of the 1940s. From that point on, he never ceased to practice an art that, although it wasn’t the one who made him famous, accompanied him along all his life. Even if photography was at the forefront of his artistic and professional life in the 1950s, it was much later, in the early 2000s, when Saura stepped out his own production of the time, which had fallen into oblivion even for him. Since then, these images have widely circulated, imposing, alongside the filmmaker figure, the idea of Saura as a photographer. By contextualizing it and highlighting both its documentary and artistic aspects, this article aims to offer a panorama of the various facets of Saura’s photographic production in the 1950s.</p>
<p><strong>Keywords. </strong>Carlos Saura, Photography, 1950s, Spain.</p>
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<p><a href="https://atlante.univ-lille.fr/data/images/_articles/ATLANTE_7_19.pdf" target="_blank"><strong>Télécharger l'article complet (pdf, 21,8 Mb)</strong></a></p>
<p> </p>Thu, 21 Jun 2018 14:12:00 +0200marianne.bloch-robin