scholarly journals La La determinación social de la imagen cinemática en el arte de la Primera Vanguardia. Gerardo Diego y Joris Ivens, un caso de analogía fílmico-poética

2021 ◽  
pp. 63-100
Author(s):  
Eva María Martínez Moreno
Keyword(s):  
Italo Calvino ◽  
Luis Bunuel ◽  
Dziga Vertov ◽  
Gerardo Diego ◽  
Guillermo De Torre

El presente artículo señala la determinación social de la imagen cinemática como causa directa de la analogía entre las diferentes artes durante el periodo de la Primera Vanguardia. En particular, se profundiza en la reciprocidad expresiva del Cine y la Poesía Nueva que confirman numerosas aportaciones teóricas y prácticas, como las del poeta ultraísta Guillermo de Torre o las del cineasta surrealista Luis Buñuel. Asimismo, se demuestra la conveniencia de aplicar los conceptos de cine-ojo (1919) y cine-verdad (1922), del director ruso Dziga Vértov, y el de cine mental (1989), del escritor italiano Italo Calvino para explicar los fundamentos estéticos y poiéticos de esta ósmosis, que la lectura comparada final del poema creacionista “Lluvia” del español Gerardo Diego y la película homónima del holandés Joris Ivens demuestra.

Alberti, Rafael (1902–1999)

2018 ◽  
Author(s):  
Silvia Colás Cardona
Keyword(s):  
Federico Garcia Lorca ◽  
Luis Bunuel ◽  
Avant Garde ◽  
Salvador Dali ◽  
Rafael Alberti ◽  
Vicente Aleixandre ◽  
Student Residence ◽  
Jorge Guillen ◽  
Gerardo Diego ◽  
Pedro Salinas

Born in Cadiz, Andalusia, and a member of what is known as the Generation of ’27, Rafael Alberti started his career as an avant-garde painter. He began to paint when his family moved to Madrid in 1917, and later in his life, he admitted to thinking of himself as a painter before a poet. He started writing poetry in 1920, publishing some of his early works in the ultraista literary review Horizontes. His first book of poems, Marinero en tierra [Sailor in Land], won the prestigious Premio Nacional de Literatura [National Prize for Literature] in 1925. Soon would follow La amante [The mistress] in 1926 and El alba del alhelí [Dawn of the Wallflower], published in 1927. All three of these works were inspired by neo-popularismo, one of the various literary trends that influenced the Generation of ’27. The arrival of Alberti at the Residencia de Estudiantes [Student Residence] in 1924 marks a crucial moment in his life; it was at the Residencia that he met most of the members that would later form the Generation of ’27: Federico García Lorca, Salvador Dalí, Luis Buñuel, Jorge Guillén, Gerardo Diego, Pedro Salinas, Vicente Aleixandre and Dámaso Alonso, among others.

VICTORINA DURÁN: POR UNA INSERCIÓN EN EL «MOVIMIENTO DE DRAMATURGAS REPUBLICANAS»

2020 ◽  
Vol 45 ◽  
pp. 65-94
Author(s):  
Rocío González Naranjo
Keyword(s):  
The Other ◽  
Women Playwrights ◽  
Previous Issue ◽  
Jose Ortega Y Gasset ◽  
Recent Edition ◽  
Gerardo Diego ◽  
Guillermo De Torre ◽  
Pedro Salinas

If we take into account the theories about the concept of ge- neration —Julius Petersen, José Ortega y Gasset, Guillermo de Torre, Azorín, Pedro Salinas, Lorenzo Luzuriaga, Gerardo Diego, José Luís Cano, José Luís Aranguren to tell few names— and after what was re- leased in a previous issue (González, 2016) to the propose of a movement of republican playwrigts females, the goal of this research, owing to the recent edition of Victorina Durán’s anthology of inedit plays of vanguar- dist scenography, is to insert this last one into the list. Thus, we will apply the same premises that we already used previously with the other women playwrights to represent their validity in this emergent move- ment despite being forgotten. Nevertheless, we will constate Durán’s modernity thanks to her dramaturgics of lesbian thematic, something ground-breaking for a society that is not prepared to that yet.

Generation of ‘27

2018 ◽  
Author(s):  
Pablo Restrepo-Gautier
Keyword(s):  
Cultural Center ◽  
Luis Bunuel ◽  
Luis Cernuda ◽  
Avant Garde ◽  
Salvador Dali ◽  
Rafael Alberti ◽  
Vicente Aleixandre ◽  
Luis De Gongora ◽  
Gerardo Diego ◽  
Pedro Salinas

Generation of ‘27 was a group of poets in Spain also known as Generation of 1925, Generation of the Dictatorship (referring to Primo de Rivera’s regime), Generation of the avant-garde, and Generation Lorca-Guillén, among other appellations. The term "Generation of ‘27" arises from a gathering of Spanish avant-garde poets on 16 and 17 December 1927, to commemorate the 300th anniversary of the death of Andalusian baroque poet Luis de Góngora y Argote (1561–1627). The term most often designates a group of ten poets born between 1891 and 1905: Pedro Salinas (1891–1951), Jorge Guillén (1893–1984), Gerardo Diego (1896–1987), Federico García Lorca (1898–1936), Vicente Aleixandre (1898–1984), Dámaso Alonso (1898–1990), Emilio Prados (1899–1962), Luis Cernuda (1902–1963), Rafael Alberti (1902–1999), and Manuel Altolaguirre (1905–1959). In a broader sense, the term may also include other artists such as painters Salvador Dalí (1904–1989) and Maruja Mallo (1902–1995), filmmaker Luis Buñuel (1900–1983), and musician Rosa García Ascot (1902–2002). Most members of the group met in Madrid at the influential cultural center known as the Residencia de Estudiantes.

: Nazarin . Luis Bunuel, Manuel Barbachano Ponce.

1960 ◽  
Vol 13 (3) ◽  
pp. 30-31
Author(s):  
Gavin Lambert
Keyword(s):  
Luis Bunuel

TIEMPO Y DESTINO: LA FRAGILIDAD DEL BIEN EN LOS OLVIDADOS

Andamios ◽  
2006 ◽  
Vol 2 (3) ◽  
pp. 107
Author(s):  
Cynthia Pech
Keyword(s):  
Luis Bunuel

La idea de que la excelencia humana es propia de toda persona, lleva a plantear una serie de cuestionamientos éticos cuando el bien, elemento constitutivo de dicha excelencia, se presenta vulnerable frente al entorno exterior. El presente artículo analiza esta peculiar situación a partir de la película Los olvidados (1950) de Luis Buñuel, documento fílmico que permite ahondar en la reflexión sobre la fragilidad del bien, en el contexto histórico del sexenio de Miguel Alemán, así como mostrar algunas de las contradicciones del contenido del discurso político alemanista: el bienestar general frente a una realidad que atendía a la contingencia de amplios sectores de la población urbana envueltos en la pobreza.

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