Cinema memory. Intersections between documentary and fiction in contemporary Latin American cinematographic practice: a case study of Roma

Authors

  • Francisco Julián Martínez-Cano Universidad Miguel Hernández de Elche Spain
  • Begoña Ivars-Nicolás Universidad Miguel Hernández de Elche Spain
  • Emilio Roselló-Tormo Universidad Miguel Hernández de Elche

DOI:

https://doi.org/10.24310/Fotocinema.2020.v0i20.7594

Keywords:

memory cinema, documentary, experimental cinema, fiction, film practice, hybridization

Abstract

This paper explores the boundaries of documentary and fiction in the field of contemporary film practice in Latin America. Some trends from the cinematographic movement Nuevo Cine Latinoamericano are still valid today. These currents have been identified, following the revision of theories on the transit between both genres, from which we conducted the case study of the feature film Roma (Cuarón, 2018). The methodology used is structured in three phases, an initial literature review, which is followed by a work of documentation through interviews and testimonies of the author, as well as specialized criticism. Finally, a filmic analysis of the work under study is carried out using a model designed from the one proposed by Francisco Javier Gómez Tarín (2006), which addresses the film from three perspectives: contextual parameters, textual and language parameters and author parameters and significance. The results obtained confirm the hybridization of both genres through the mixture of stylistic and formal resources, placing the viewer at a critical distance from which an intimate and collective story is presented, close to the memory of three generations.

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Author Biographies

Francisco Julián Martínez-Cano, Universidad Miguel Hernández de Elche

Professor at the Miguel Hernández University (Spain) lectures in the degrees of Audiovisual Communication and Fine Arts. His artistic career has been focused since 2006 on the mixture of science and art to generate new audiovisual discourses. As a researcher, he studies and analyzes the technologies of virtual reality and augmented reality, and its hybridization with cinema and videogames, for the creation of new audiovisual entertainment products, paying attention to contemporary transmediation phenomena and the mass media.

 

He is a member of the OCAP research group, whose objectives are the study of the visual and audiovisual image and the communicative functions of emerging media. He is also the monograph editor of the scientific journal Miguel Hernandez Communication Journal. He has been a visiting professor at the University of Beira Interior (Portugal), the University of Evora (Portugal), the University of the Californias International (Mexico) and the Plymouth College of Art (United Kingdom).

Begoña Ivars-Nicolás, Universidad Miguel Hernández de Elche

Professor at the Miguel Hernández University (Spain) lectures in the degrees of Journalism and Audiovisual Communication. At the same time, he works in the Communication Office of the same university developing social communication strategies.

Doctor in Social Anthropology, she is part of the research group Observatory of Audiovisual Communication and Advertising, OCAP, of the Miguel Hernández University and focuses her research on the impact of Information and Communication Technologies in the Internet media.

Emilio Roselló-Tormo, Universidad Miguel Hernández de Elche

Professor at the Miguel Hernández University (Spain) lectures in the degree of Fine Arts. His artistic itinerary has been expanding since the nineties through the study of the representation of the electronic image, observing from practice its particular communicative expression. From the electrography to the digital photography he has elaborated in the praxis different conceptual and narrative discourses about the image as thought. In the last decade it focuses more on conceptual photography; Photography reflects on itself and on the photographic fact, questioning the values of truth, identity and memory from the specific and emerging language of the so-called post-photographic era.

He is a member of the contemporary international collective in whose context he develops independent photographic projects and collective series.

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Published

2020-01-29

How to Cite

Martínez-Cano, F. J., Ivars-Nicolás, B., & Roselló-Tormo, E. (2020). Cinema memory. Intersections between documentary and fiction in contemporary Latin American cinematographic practice: a case study of Roma. Fotocinema. Revista científica De Cine Y fotografía, (20), 111–136. https://doi.org/10.24310/Fotocinema.2020.v0i20.7594

Issue

No. 20 (2020)

Section

Representaciones autobiográficas y construcción de memorias personales

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