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Abstract
La cuestión de la creación del sentido siempre ha sido recurrente en la investigación académica. Considerada desde la perspectiva cinematográfica, nos lleva automáticamente a pensar en la trama y los diálogos. Sin embargo, la transmisión del sentido de las películas no se basa únicamente en su canal verbal, sino que también se manifiesta en su capa visual, comprendida en las expresiones faciales, la composición, la localización y la edición. Centrándose en el cómo, el artículo presta especial atención a la influencia de los patrones de luz y contraste en la lectura del cine. Con la intención de resaltar su rol en el lenguaje cinematográfico y su relevancia en traducciones y adaptaciones, la autora reflexionará sobre el papel de los patrones de luminiscencia en la percepción activa de filmes, su potencial contribución a la comprensión de la trama y los procesos de jerarquización contenidos en la luz y el contraste.
Highlights
According to Bordwell and Thompson (1990: 40), the essential features which contribute towards the enjoyment of a film are the emotional responses of the audience towards the image they are confronted with, their subjective evaluation of its aesthetic characteristics, and their recognition of the meaning that the relevant film carries
The significance of any movie lies in the unique and carefully structured camera movements, editing and soundtrack choices, and staging parameters. Whilst these components seem to have already received substantial attention within academia, light and contrast patterns, which will constitute the main focus of this paper, are given substantially less attention in the field of academic research and are still regarded by most as mere object illumination and shape revelation tools
This paper aims to elevate the role of luminance patterns in bridging the gap between directorial intentions and the viewer’s final response
Summary
According to Bordwell and Thompson (1990: 40), the essential features which contribute towards the enjoyment of a film are the emotional responses of the audience towards the image they are confronted with, their subjective evaluation of its aesthetic characteristics, and their recognition of the meaning that the relevant film carries. As Solso observes (1994: 96), the above mentioned argument has been broadly supported by gestalt psychologists, and was reflected in the notion of Prägnanz, as these scientists discovered a tendency for the human brain to look for carefully and regularly structured patterns and revealed a far-reaching though not definable discomfort with disturbed forms and shapes This accounts for the way that many film directors resort to “bad” figures in order to allow their audience to develop their own, creative ideas and conclusions, and enjoy the whole spectrum of possible scene significances. On the other hand, advanced processing activities and broader visual competence guarantee the discovery of all possible contexts and levels of significance, since the missing links needed for successful form reading are often to be found in the language of such ambiguous tools as cinematographic conventions
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