El  plano secuencia en Berlanga: lenguajes y técnicas de la comedia

Mario Rajas; Fernando Hernández Barral; Miguel Baños González

doi:10.24310/Fotocinema.2023.vi26.15584

The sequence shot in Berlanga: comedy languages and techniques

Authors

Mario Rajas Universidad Rey Juan Carlos Spain https://orcid.org/0000-0002-3807-8327
Fernando Hernández Barral Spain https://orcid.org/0000-0002-0543-0179
Miguel Baños González Spain https://orcid.org/0000-0002-0195-2754

DOI:

https://doi.org/10.24310/Fotocinema.2023.vi26.15584

Keywords:

Luis García Berlanga, Sequence Shot, Long Take, Film Directing, Comedy, Spanish Cinema

Abstract

Luis García Berlanga discovered in the sequence shot technique an ideal instrument to narrate his stories through the continuous movement of the camera, the massive choreography of the actors and the mise en scène in terms of depth. In the Valencian filmmaker's work, long takes serve to offer a particular vision of the comedy genre, introducing a series of internal editing resources which, as well as allowing him to develop his particular sense of humour on screen, enable the author to carry out a critical analysis of human existence and of cinema itself, by opting for certain audiovisual production decisions such as the predominance of extended duration shots, wide and dynamic framing, simultaneous and overlapping dialogues, strong compositional contrasts within the image or accelerated rhythms of the dramatic action, among other aesthetic and narrative solutions. The Berlin sequence shot is thus a privileged means of stylising reality, abstracting the everyday, eternalising the present, the precise comic vehicle to make us laugh and think.

Downloads

Download data is not yet available.

Metrics

Metrics Loading ...

References

Alegre, L. (2020). ¡Hasta siempre, Mister Berlanga! Barcelona: Penguin Random House.

Cañeque, C. y Grau, M. (1993). ¡Bienvenido, Mr. Berlanga! Barcelona: Destino.

Devesa García-Lliberós, V. (2015). El plano secuencia en Berlanga. Elche: Universidad CEU Cardenal Herrera. Trabajo Fin de Grado.

García García, F., y Rajas, M. (Eds.). (2011). Narrativas audiovisuales: mediación y convergencia. Icono 14 Editorial.

García Jiménez, J. (Ed.) (2000). La poética de Berlanga. Madrid: Tarvos.

Gómez Rufo, A. (1997). Berlanga. Contra el poder y la gloria. Barcelona: Ediciones B.

Hidalgo, M. y Hernández Les, J. (1981). El último astro-húngaro. Conversaciones con Berlanga. Madrid: Alianza Editorial.

Perales, F. (1994). Aproximación al universo fílmico de Luis García Berlanga (La rebeldía de un cineasta en la corte franquista). Sevilla: Universidad de Sevilla.

Perales, F. (1997). Luis García Berlanga. Barcelona: Cátedra.

Rajas, M. (2009). La poética del plano secuencia: análisis de la enunciación fílmica en continuidad [Tesis doctoral]. Universidad Complutense de Madrid.

VVAA (1996). Especial Berlanga. Nickel Odeon (3).

VVAA (2021a). Dossier Luis García Berlanga. Dirigido por... (517), pp. 20-69.

VVAA (2021b). El universo de Luis García Berlanga. Madrid: Notorious Ediciones.

Downloads

Published

2023-01-30

How to Cite

Rajas, M., Hernández Barral, F., & Baños González, M. (2023). The sequence shot in Berlanga: comedy languages and techniques. Fotocinema. Revista científica De Cine Y fotografía, (26), 65–90. https://doi.org/10.24310/Fotocinema.2023.vi26.15584

Download Citation

Issue

No. 26 (2023): The stylization of popular comic culture in Spanish cinema

Section

ARTICLES

License

All contents published in Fotocinema Revista científica de cine y fotografía are protected under the Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International (CC BY-NC-SA 4.0) license. All about this license is available in the following link: <http://creativecommons.org/licenses/by-nc-sa/4.0>

Users can copy, use, redistribute, share and exhibit publicly as long as:

The original source and authorship of the material are cited (Journal, Publisher and URL of the work).
It is not used for comercial purposes.
The existence of the license and its especifications are mentioned.

There are two sets of authors’ rights: moral and property rights. Moral rights are perpetual prerogatives, unrenounceable, not-transferable, unalienable, imprescriptible and inembargable. According to authors’ rights legislation, Fotocinema. Revista científica de cine y fotografía recognizes and respects authors moral rights, as well as the ownership of property rights, which will be transferred to University of Malaga in open access. The property rights are referred to the benefits that are gained by the use or the dissemination of works. Fotocinema. Revista científica de cine y fotografía is published in an open access form and it is exclusively licenced by any means for doing or authorising distribution, dissemination, reproduction, , adaptation, translation or arrangement of works.

Authors are responsable for obtaining the necessary permission to use copyrighted images.