{"status":"ok","message-type":"work","message-version":"1.0.0","message":{"indexed":{"date-parts":[[2025,5,14]],"date-time":"2025-05-14T11:48:52Z","timestamp":1747223332499,"version":"3.40.5"},"reference-count":29,"publisher":"Oxbridgepublishinghouse","issue":"35","content-domain":{"domain":["revistacomunicar.com"],"crossmark-restriction":true},"short-container-title":["Comunicar: Revista Cient\u00edfica de Comunicaci\u00f3n y Educaci\u00f3n","Comunicar: Media Education Research Journal","Revista Comunicar"],"published-print":{"date-parts":[[2010,10,1]]},"abstract":"<jats:p>This essay highlights the role of historical avant-gardes in shaping film discourse. This role was vital for the recognition of cinema as an art form, as well as for the constitution of a visual and textual discourse that came to be reflected in the Institutional Mode of Representation \u2013 Hollywood film from the 1920s to the 1940s. To realize the importance of artistic movements in the creation of new paradigms for art at large, it is necessary to understand their principles and the context in which a new way of looking and reflecting on the world came about. The promotion of authentic and efficient film literacy requires focusing on the era in which cinema began. Only by examining the 19th century more deeply can we perceive what lies beyond that invention of the Lumi\u00e8re brothers. The essay shows that cinema was not only inscribed in the times from which it emerged but that it also launched a new paradigm that the arts of the 20th century were yet to discover.<\/jats:p>\n <jats:p>A trav\u00e9s de este ensayo se pretende resaltar el papel que las vanguardias hist\u00f3ricas han desempe\u00f1ado en la construcci\u00f3n del discurso cinematogr\u00e1fico. Dicho papel es fundamental para el reconocimiento del cine como arte y para la constituci\u00f3n de un discurso visual y textual que se va a reflejar en el cine del denominado \u00abModo de representaci\u00f3n institucional\u00bb: el cine hollywoodiense que va de las d\u00e9cadas de los a\u00f1os veinte a los cuarenta. Para comprender el papel de los movimientos art\u00edsticos que crearon nuevos paradigmas para el arte en general, es necesario conocer sus principios y el contexto del nacimiento de la nueva forma de ver y de representar\/reflejar el mundo. La promoci\u00f3n de una aut\u00e9ntica \u00abalfabetizaci\u00f3n f\u00edlmica\u00bb requiere centrarse en el nacimiento del cine y de su entorno, porque s\u00f3lo a trav\u00e9s de una mirada m\u00e1s profunda en el siglo XIX, es posible leer todo que est\u00e1 m\u00e1s all\u00e1 de la creaci\u00f3n de los hermanos Lumi\u00e8re. En suma, en este trabajo se pretende destacar que el cine no s\u00f3lo se inscribe en su propio tiempo, sino que al mismo tiempo est\u00e1 lanzando un nuevo paradigma, aun por descubrir, para todas las artes en el siglo XX.<\/jats:p>","DOI":"10.3916\/c35-2010-02-04","type":"journal-article","created":{"date-parts":[[2010,9,30]],"date-time":"2010-09-30T16:33:47Z","timestamp":1285864427000},"page":"43-51","update-policy":"https:\/\/doi.org\/10.3916\/crossmark-policy","source":"Crossref","is-referenced-by-count":1,"title":["Understanding cinema: The avant-gardes and the construction of film discourse"],"prefix":"10.58262","volume":"18","author":[{"ORCID":"https:\/\/orcid.org\/0000-0002-9622-6527","authenticated-orcid":false,"given":"Mirian-Estela","family":"Nogueira-Tavares","sequence":"first","affiliation":[]}],"member":"36997","published-online":{"date-parts":[[2010,10,1]]},"reference":[{"key":"ref=1","unstructured":"Andrew, D. (1989). As Principais teorias do cinema. Rio de Janeiro: Jorge Zahar."},{"key":"ref=2","unstructured":"Apollonio, U. (Ed.). (1973). Futurist manifestos. London: Thames and Hudson."},{"key":"ref=3","unstructured":"Astre, G.A. (1965). Surr\u00e9alisme et cin\u00e9ma. Etudes Cin\u00e9matographiques, 38-39; 3-5."},{"key":"ref=4","unstructured":"Audoin, P. (1995). Les surr\u00e9alistes. Paris: Seuil."},{"key":"ref=5","unstructured":"Baudelaire, C. (1996). Sobre a modernidade. Rio de Janeiro: Paz e Terra."},{"key":"ref=6","unstructured":"Beaujour, M. (1965). Surr\u00e9alisme ou cin\u00e9ma? Etudes Cin\u00e9matographiques, 38-39; 57-63."},{"key":"ref=7","doi-asserted-by":"crossref","unstructured":"Bellido-L\u00f3pez, A. (1998). El aprendizaje del cine. Comunicar 11; 13-20.","DOI":"10.3916\/C11-1998-03"},{"key":"ref=8","unstructured":"Benjamin, W. (1992). Sobre arte, t\u00e9cnica, linguagem e pol\u00edtica, Lisboa: Rel\u00f3gio D\u2019\u00c1gua."},{"key":"ref=9","unstructured":"Brechon, R. (1971). Le surr\u00e9alisme. 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Etudes cin\u00e9matographiques, 38-39; 41-43."},{"key":"ref=18","unstructured":"Lievre-Crosson, E. (1995). Du Cubisme au Surr\u00e9alisme. Toulouse: \u00c9ditions Milan."},{"key":"ref=19","unstructured":"Lotman, Y.M. (1979). Est\u00e9tica y semi\u00f3tica del cine. Barcelona: Gustavo Gili."},{"key":"ref=20","unstructured":"Magny, J. (1982) Pr\u00e9miers \u00e9crits, avant-garde fran\u00e7ais et surr\u00e9alisme. Cin\u00e9mAction, 20; 12-20."},{"key":"ref=21","unstructured":"Montiel, A. (1992). Teor\u00edas del cine: un balance hist\u00f3rico. Barcelona: Montesinos."},{"key":"ref=22","unstructured":"Ortega y Gasseet, J. (1976). La deshumanizaci\u00f3n del arte y otros ensayos de est\u00e9tica. Madrid: Ediciones de la Revista de Occidente."},{"key":"ref=23","unstructured":"Rondolino, G. (1977). Cinema e surrealismo, in Argan, G.C. & alt. (Eds.). Studi sul surrealismo. Roma: Officina Edizioni; 375- 403."},{"key":"ref=24","unstructured":"Sadoul, G. (1983). 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Comunicar, 29; 51-58.","DOI":"10.3916\/C29-2007-07"}],"container-title":["Comunicar"],"original-title":["Comprender el cine: Las vanguardias y la construcci\u00f3n del texto f\u00edlmico"],"language":"es","link":[{"URL":"https:\/\/www.revistacomunicar.com\/pdf\/35\/06e.pdf","content-type":"unspecified","content-version":"vor","intended-application":"similarity-checking"}],"deposited":{"date-parts":[[2024,1,26]],"date-time":"2024-01-26T23:08:25Z","timestamp":1706310505000},"score":1,"resource":{"primary":{"URL":"https:\/\/www.revistacomunicar.com\/index.php?contenido=detalles&numero=35&articulo=35-2010-06"}},"subtitle":[],"short-title":[],"issued":{"date-parts":[[2010,10,1]]},"references-count":29,"journal-issue":{"issue":"35","published-online":{"date-parts":[[2010,10,1]]},"published-print":{"date-parts":[[2010,10,1]]}},"alternative-id":["35-2010-06"],"URL":"https:\/\/doi.org\/10.3916\/c35-2010-02-04","relation":{},"ISSN":["1134-3478","1988-3293"],"issn-type":[{"type":"print","value":"1134-3478"},{"type":"electronic","value":"1988-3293"}],"subject":[],"published":{"date-parts":[[2010,10,1]]}}}