Abstract
The paper reaches to confirm the existence of ethnographic cultural tradition in the works of the film directors Serguei Paradzhanov and Jose Val del Omar through poetry, cinematographic techniques and traces of theoretical and practical mystique. Subsequently, two major issues are analysed: identifying signs of ethnographic tradition, and confirming clear examples of mystical visual poetics. The analysis of their films unearths topics such as the discussion of unique film genres with features from others, the concept of Pathosformel, or the use of mystical literary structures as a cinematic narrative technique.For its creation and development, the nature of poetic films with a mystical component requires specific and complex techniques to illustrate the depth of the poetic message seen in the technical and aesthetic cinematic treatment on the chosen movies –we will focus to find similarities between the works of the Armenian and the Spanish filmmakers.
Highlights
The paper reaches to confirm the existence of ethnographic cultural tradition in the works of the film directors Serguei Paradzhanov and Jose Val del Omar through poetry, cinematographic techniques and traces of theoretical and practical mystique
For its creation and development, the nature of poetic films with a mystical component requires specific and complex techniques to illustrate the depth of the poetic message seen in the technical and aesthetic cinematic treatment on the chosen movies – we will focus to find similarities between the works of the Armenian and the Spanish filmmakers
La obra cinematográfica de estos cineastas tiene la forma de un poema visual místico, compuesto a partir de una idea principal que se adapta a cada uno de los parámetros (poesía, medio audiovisual, mística) y se construye a través de las peculiares técnicas que crearon estos artistas, por ejemplo, la unidad P.L.A.T
Summary
The paper reaches to confirm the existence of ethnographic cultural tradition in the works of the film directors Serguei Paradzhanov and Jose Val del Omar through poetry, cinematographic techniques and traces of theoretical and practical mystique.
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