miércoles, 24 de noviembre de 2010

domingo, 21 de noviembre de 2010

*JEAN FRANCOIS JONVELLE* (FRANCIA, 1943-2002)



Su obra está basada en retratos de mujeres, a menudo de sus amigas y conocidas – se le ha achacado un ‘exceso’ de implicación con sus modelos-, marcada por una profunda sensualidad y deseo, por sus aires y ética libertaria, pero sobre todo por su compromiso en la liberación de los códigos sexuales en una difícil época de post-guerra.


http://www.jonvelle.com/





Jean François Jonvelle nació en Cavaillon, Francia, en 1943. Gracias a un fotógrafo local, a los 16 años Jonvelle ya era un "hacedor de imágenes". El haber empezado tan joven y estar seguro siempre de su vocación, lo hicieron amar su trabajo hasta el último día. Siempre se sintió un privilegiado. Su "fórmula secreta" en el trabajo: seducción, deseo, amor y provocación.


Sus inspiración se encuentran en el cine. Decía que el cine era su cultura entera. Sus influencias: Mankiewicz, Lubitsch, Fritzlang, Orson Wells, Arthur Penn y Hitchcock entre otros.

La emoción se encuentra en los ojos. Ojos que hablan sin hablar. Un movimiento de manos, una pulgada de piel, un tono de voz, un toque de perversidad y tres dosis de vulnerabilidad. Y por supuesto, mucha ternura. En palabras de Jonvelle la descripción de su trabajo.

Jonvelle se inició en la fotografía de modas. Comenzó en Harper´s Bazaar gracias a Richard Avedon. A los 18 años fue su asistente durante un mes y le dio este consejo: una simple charla con la modelo y se obtiene lo mejor de ella.

Su hermana Claire, su madre y su abuela fueron sus primeras modelos. A mi hermana la fotografié desde todos los ángulos posibles decía.

"Estar observando constantemente evita que me aburra. Ser observador es como tener un tercer ojo".

Jonvelle creía en la naturalidad y la espontaneidad como elementos indispensables para su trabajo. El entorno ayuda al estado de ánimo de la modelo. Decía que para crear necesitaba una atmósfera "verdadera".

Para Jonvelle la fotografía es igual que la escritura. O sea, que debe hacerse en blanco y negro. Usaba el color únicamente para trabajos de encargo como moda y publicidad, aunque admitió que igual disfrutaba trabajando en color. Sin embargo para los trabajos personales (sus libros) siempre trabajó en blanco y negro.

El núcleo constante de la obra de Jonvelle fueron las mujeres. Se cuenta entre los mejores fotógrafos del mundo, ya que durante toda su vida vinculó su carrera en el mundo de la moda con su trabajo como fotógrafo de mujeres. Su obra se basó en puras sensaciones.

En las fotografías de Jonvelle se pone de manifiesto aquella confabulación que muchos fotógrafos, o sencillamente muchos hombres, desearían mantener con el sexo contrario. Estas reproducciones de mujeres jóvenes resultan delicadas y enérgicas a la vez, puesto que transmiten un alto grado de intimidad y proximidad, e invitan a entrar en un mundo de seducción, amor y pasiones secretas. En ese mosaico de sentimientos y gestos que tanto nos fascina de las mujeres. Jean François Jonvelle murió el 16 de enero del 2002.


Su Trabajo Personal

Las ambientaciones de Jonvelle en sus trabajos personales son íntimos, sencillos o como él los denominó; ambientes "verdaderos".

El decía amar el trabajar en baños como a la vida misma. Para Jonvelle los baños eran lugares íntimos como ningún otro. Ideales para hacer sentir a sus modelos confiadas y relajadas. Y como vemos en su trabajo hay muchísimas fotografías desarrolladas en ese ambiente.


Y es que fuese el ambiente que fuese, el lavabo, el bidé, el sofá, en el cual Jonvelle trabajara siempre creaba esa sorpresa erótica que lo caracterizó.

Jonvelle se refería así sobre su propio trabajo:

"Amo fotografiar mujeres, eso no es un secreto, lo que no soporto es que me atribuyan etiquetas, Jonvelle = pequeña tanga. Sobre todas las cosas soy un gran sentimental".

Dentro de las fotografías de Jonvelle la mujer no es un objeto más en la imagen. Ella se convierte en sujeto, cómplice con el ambiente que le rodea.

Jonvelle desarrolló un erotismo doméstico, con sus modelos vistiendo desde una simple t-shirt, hasta una pequeña tanga o únicamente un par de zapatos. No se trata de un erotismo de palacio con toda la carga de deseos implícita.

Una mujer que se siente bella, es la más bella del mundo, decía. Por esto, Jonvelle siempre trató de sacar lo mejor de sus modelos en cada toma.


Entre las exposiciones más destacadas de Jean François Jonvelle están las siguientes:

Galería Image, París (1981).
Galería Hamiltons, Londres (1984).
Sala San Lázaro, Mes de la foto, París (1986).

Jonvelle también publicó varios libros con sus trabajos entre los cuales destacan:

" Celle que j aime" (Filipacchi, 1983)
"Jonvelle à Venise"
"Jonvelle à Saint-Barthèlemy"
"Jonvelle à Marrakech" (La Chene, 1986)
"La mujer representa mi trabajo y mi vida"

Jonvelle siempre quiso la naturalidad en sus trabajos, para esos efectos él la describe así: "Me gustan las chicas cuando son naturales y espontáneas. Me gusta, por ejemplo, soltar su cabello suavemente, o simplemente dejarlo caer.

Cuando empecé recuerdo echarles agua en la cara a las modelos para forzarlas a reaccionar naturalmente. Demasiado maquillaje hace a los rostros insípidos, por no decir que feos. ¿Cómo puede alguien querer besar unos labios plastificados por el lápiz labial?

El entorno debe ayudar al carácter de la modelo. Me gusta la luz que envuelve a una mujer cuando se está levantando".


Fotografía de Modas

Jonvelle se inició realmente en la fotografía de modas. Fue en la revista Harpers Bazaar gracias al fotógrafo Richard Avedon.

Jonvelle quedó impactado con una serie de fotografías en blanco y negro que Avedon hizo con Ava Gardner y Mike Nichols.

Le escribió expresando su admiración y tres semanas después recibió contestación. Se pusieron de acuerdo para encontrarse y a sus 18 años, Jonvelle se convirtió en asistente de Avedon durante un mes.

Para esa época Avedon trabajaba con las top models del momento, Jean Shrimpton y Twiggy. Le enseñó a utilizar la mística sobre la técnica. Simplemente una charla con las modelos, y ellas dan lo mejor de si mismas.


Con ese consejo las cosas empezaron a presentarse rápidamente. Vinieron luego Jardin des Modes, Elle, 20 Ans, Nova, etc. Para Jonvelle, las mejores dos revistas para las cuales trabajó fueron 20 Ans y Nova. El trabajo en modas de Jonvelle fue reconocido mundialmente. En 1985 trabajó para un nuevo diario alemán llamado Neno. Las imágenes las tomó en la entrada del edificio del diario. En 1992 realizó fotografías para un catálogo de modas japonés, Nice Claup Co., LTD.

La experiencia de Jonvelle se extiende a trabajos con las revistas Marie-Claire, Vogue inglesa, Vogue estadounidense, Elle y Cosmopolitan entre otras. En esta faceta creativa de Jonvelle se puede observar más trabajo en color. También se oyó hablar de una "moda a lo Jonvelle". Por ejemplo, para una edición de ropa íntima para la revista Elle, él reprodujo escenas de la vida diaria mientras las modelos lucían las prendas.

"Jonvelle ha inventado una moda sexy, que celebra los placeres diarios de la vida" Las fotos de Jonvelle aparecieron en varias de las portadas de las revistas antes mencionadas. Asimismo ayudó a coordinar y desarrollar imágenes para catálogos de distintos desfiles y actividades. En las fotografías de moda, sus locaciones variaron un poco con respecto a las de sus trabajos personales. Se puede observar una mayor presencia de playas y sobre todo, de escenas en el campo como las realizadas en 1971 para 20 Ans con las modelos Isabelle Weingarten y Joan Buck.

Fotografía Publicitaria

Jean François Jonvelle inició su experiencia en el medio publicitario en la década de los 70. Su primer trabajo publicitario fue para la marca Levis. De ahí en adelante nada lo detendría. Realizó y participó en publicidad para Canon, Jeans Picadilly, Chesterfield, el Club Mediterráneo y Galerías Lafayette entre muchos otros. De nuevo el uso del color y la variedad en cuanto a locaciones son característica destacada de esta etapa. Jonvelle creó fotografías exclusivas para cada campaña, sin embargo también se utilizaron imágenes de proyectos personales para promocionar productos como la Canon EOS 1N.

Dentro de la gran cantidad de campañas publicitarias en las cuales trabajó, Jonvelle tenía sus favoritas por distintos motivos. Estas fueron Banga, Huit, Club Mediterráneo, Myriam, Dunlopillo, Galerías Lafayette, Yop, Mobalpa. Cuando empezó en el medio publicitario notó la diferencia con el entorno de la moda. En publicidad le pidieron ser más mandón, muy selectivo en cuanto a luces, casting, set, estilo, etc. Sin embargo, su campaña más célebre la desarrolló con Joel Le Berre de la agencia CLM/BBDO.

Esta campaña pretendía resaltar las bondades de las vallas como medio publicitario. Se hizo público este mensaje a través de una serie de vallas, la primera; una mujer sensual en bikini con las manos en la cintura y con el texto "El 2 de setiembre me quitaré la parte de arriba".

La segunda es la misma mujer sin la parte superior del bikini con el texto "El 4 de setiembre me quitaré la parte de abajo". La tercera valla presenta a la mujer de espaldas y completamente desnuda con el texto "Las vallas cumplen sus promesas".

Todo París estuvo pendiente de esta campaña y se logró el objetivo publicitario. Jonvelle realizó luego más trabajos con la modelo de esta campaña; Myriam.
Después del revuelo de la campaña ella apareció fotografiada por Jonvelle, en la portada de la edición nº170 de la revista PHOTO. Esta vez en un desnudo frontal.



Jonvelle murió en el año 2002 a los 58 años, en apenas 15 días después de habersele detectado un tumor cancerigeno.















sábado, 20 de noviembre de 2010

*SAM HASKINS* (SUDAFRICA, 1926-2009)



Sam Haskins, born Samuel Joseph Haskins (born November 11, 1926, died November 26, 2009), was a photographer best known for his contribution to nude photography, pre-Photoshop in-camera image montage, and his books, the most influential of which were Cowboy Kate (1965) and Haskins Posters (1973). From 2000 to 2005 he has focused on fashion photography for Vogue, Harper's Bazaar, Allure and New York. In 2006 he republished Cowboy Kate in a 'Directors Cut' edition with some additional images. In 2009 he published, under the family imprint The Haskins Press his first book in 24 years. 'Fashion Etcetera' is a thematic slice through his archives that explores a lifelong passion for fashion, style and design. He suffered a stroke on September 19, 2009, the opening day of his exhibition to launch 'Fashion Etcetera' at Milk Gallery in New York and died at home in Bowral, Australia, nine weeks later.



Sam Haskins was born in Kroonstad in the province of the Orange Free State of South Africa. His father Ben was a goods inspector on South African Railways. Early creative influences were fueled by an interest in magic tricks, kite making, drawing and the circus. A talented athlete, as a teenager Sam excelled at hurdling and trained with a circus, resulting in a job offer as a trapeze catcher.


Formal higher education was at the Johannesburg Technical College, 1945 to 1948, where he did a general arts course followed by a part time photographic module. Between 1949 and 1951 he studied at the London School of Printing and Graphic Arts in Bolt Court, later renamed the London College of Printing and now known as the London College of Communication.



Sam Haskins married Alida Elzabe van Heerden in 1952 and they have two sons; Ludwig (August 4, 1955) and Konrad (January 26, 1963). Alida gave up a career in fashion soon after their marriage to become Sam's business partner. She played a key role in the launch of his career by acting as a publishing agent for Five Girls when Sam was still an unknown photographer. She continued to negotiate worldwide publication of all subsequent Haskins books.


Haskins started his career as an advertising photographer in Johannesburg in 1953. He ran what was probably the first modern freelance advertising studio in Africa. He produced commercial work across a very broad spectrum of photography from still life to industrial, fashion and aerial. His first formal creative output was a one-man show at a popular Johannesburg department store called John Orrs in 1960. This featured black and white photography of models in the studio and included some photographs of dolls made by the young Elisabeth Langsch, who later went on to become Switzerland's leading ceramist.

His international reputation and his signature photographic passions were established by four key books published in the 60s. Five Girls (1962) explored a fresh approach to photographing the nude female figure and contained important first explorations with black and white printing, cropping and book design which went on to become a key feature of all his subsequent books. Cowboy Kate (1964) was probably the first creative black and white book of the 20th century to deliberately explore black and white photographic grain as a medium for expression and image design. The book was highly influential at the time and went on to sell roughly a million copies worldwide and win the Prix Nadar in France in 1964. It continues to influence contemporary photographers, film makers, fashion designers and make up artists nearly five decades after its publication.

A shortage of copies of the original edition, which was selling to collectors for up to USD3,000, led Haskins to bring out a digitally remastered 'director's cut' version in October 2006, published by Rizzoli in New York. The new version of Cowboy Kate, apart from image editing and layout revisions, also features 16 pages of additional new images.

November Girl (1966) contained a number of key image collages which formed the basis of many graphic and surrealist experiments in the 1970s and 80s. African Image (1967) was a visual homage to the indigenous people, culture, landscape and wildlife of sub-saharan Africa. The images in the book represent a lifelong interest in photographing graphically stimulating environments and formally document Haskins' personal passion for indigenous craft. He broke bones on river rapids and wrote off two Volvo saloon cars on African dirt roads while shooting African Image. Despite its international award, this meticulously constructed book, celebrating a love for sub-Saharan Africa, is probably the least known of Haskins' major creative projects; nonetheless, it is coveted by serious collectors of African art and photography.

In 1968 Haskins moved to London and ran a studio in Glebe Place just off the King's Road. He worked here as an advertising photographer for a list of international consumer brands — Asahi Pentax, Bacardi, Cutty Sark Whisky, Honda, BMW, Haig Whisky, DeBeers, British Airways, Unilever and Zanders — and specialised in the art direction and shooting of calendars, especially for Asahi Pentax in Japan. Although Haskins endorsed Hasselblad for a short period in the late 60s and early 70s his loyalty to the medium format 6x7 camera and lenses from Asahi resulted in a rare longterm association between a camera manufacturer and photographer. From 1970 to 2000 Asahi Optical (later Pentax) produced 30 calendars of which Sam Haskins shot and art-directed 15 editions including the millennium calendar. No other photographer was ever invited to contribute more than once. He is still involved with the Pentax Forum Gallery in Tokyo, which hosts his exhibitions. His first contact came in 1967 when Asahi Optical presented him with a 35mm camera after hearing that he had shot African Image with various competitors' products.

In 1972 he produced his first colour book, Haskins Posters.

The large-format publication contained pages printed on one side using a thick stiff paper and a soft glue perfect binding allowing the pages to be removed and used as posters. Haskins and his wife Alida successfully self-published the book internationally, with their own publishing company, Haskins Press. The book won a gold award at the New York One Show. At the time the best-known image from Haskins Posters, a girl's face superimposed on an apple with a bee near the stem, appeared on the cover or in editorials of almost every major photographic magazine around the world. This image was part of a well-publicised visual and graphic experimentation with the apple theme in the 70s that for a while resulted in photographic journalists nicknaming him 'Sam the Apple man'.

The images in Haskins Posters traversed a number of different creative themes that all became signature passions for Haskins' image-making over the next three decades; graphically strong compositions of nudes characterised by a natural essence in the models while the image-making explored themes of graphic experimentation, humour and sensual eroticism. Haskins' has a recurring theme (rooted in his training as a painter) of creating tension in the surface of his photographs between flat graphic elements and 3D chiaroscuro. These results are often achieved with sophisticated lighting and/or double exposures. A highly creative and design driven approach to lighting almost always plays a key role in Haskins' work, both in the studio and on location. He often develops complex lighting designs for a single specific shot that are never repeated. The most recent example of which is a fashion shoot for New York magazine's 75th anniversary issueshot in New York's Pier 57 studios in August 2006.

He also often sculpted and painted graphic elements for his photographs and drew inspiration from a combination of surrealism, illustration, film and modern graphic designers.

The graphic experiments first seen in Haskins Posters and related exhibitions at London's Photographer's Gallery and National Theatre resulted in a book called Photo Graphics (1980).

The title of the book coined a new term in photography that has since become widely used.

Haskins' next book, Sam Haskins á Bologna (1984) resulted from an invitation by the mayor of Bologna to photograph the city.



The publication was accompanied by an exhibition in the city. This project led to two more homages to visually rich locations shot over a series of visits; one in Barcelona (1991) and another in Kashmir (between 1992 and 1994).

In 2002 Haskins and his wife Alida moved to the Southern Highlands in Australia and built the third house/studio of their partnership. The move away from London resulted in a renaissance in Haskins' fashion photography. While he always had a passion for fashion from the start of his career, and Cowboy Kate influenced fashion designers who openly credited Haskins, he had not been courted by the mainstream fashion world and it is fair to say that he also did not court them. A shoot for [Yves Saint Laurent (designer)Yves Saint Laurent] in Paris in 2002 resulted in a 'rediscovery' that led to a stream of assignments in London, New York, Paris, Tokyo and Sydney working for fashion houses and magazines.

In December 2006, a month after his 80th birthday, the first retrospective exhibition of his work (with a portraiture bias) opened at the National Portrait Gallery in Canberra (Australia). This was also his first exhibition at a national museum/gallery. The show ran for four and a half months through to April 22, 2007.

The exhibition at the National Portrait Gallery includes several portraits of other artists never seen before including one of the late Jean-Michel Folon, a graphic artist much admired by Sam Haskins. Although one or two of the images from this personal portrait project had previously been published, the majority remained part of a quiet collection built up over decades of meeting and befriending other artists.

Sam Haskins' artistic estate is now managed by his wife and son who will continue to publish and exhibit his work.



Influences


Sam Haskins is unusual among photographers for also being recognised as a designer. He has on various occasions given tribute to the following artists as being an influence on his work. Photographers: Irving Penn, Richard Avedon, Edward Steichen, and Henri Cartier-Bresson. Designers and typographers: McKnight Kaufer, Paul Rand, Louis Dorfsman, Willy Fleckhaus, Alexey Brodovich, Herb Lubalin, Milton Glaser, Paul Rand, and Saul Bass. Painters: René Magritte, Surrealism, Dadaism, Impressionism, Post Impressionism, 20th century art from Paris, Pop Art. Film makers: Federico Fellini, Carol Reed (for his directing of The Third Man), Sergei Eisenstein (primarily for the directing of Strike).
































































































jueves, 18 de noviembre de 2010

*GERMAINE KRULL* (ALEMANIA, 1897-1985)












Germaine Krull (29 November 1897 – 31 July 1985), was a photographer, political activist, and hotel owner.Her nationality has been categorized as German, Polish, French, and Dutch, but she spent years in Brazil, Republic of the Congo, Thailand, and India. Described as "an especially outspoken example" of a group of early 20th-century female photographers who "could lead lives free from convention," she is best known for photographically-illustrated books such as her 1928 portfolio Métal.


Germaine Luise Krull was born in Wilda, Poznań, then on the border between Germany and Poland in East Prussia, of an affluent German family. In her early years, the family moved around Europe frequently; she did not receive a formal education, but instead received homeschooling from her father, an accomplished engineer and a free thinker but a bit of a neer-do-well. Her father may have influenced her in at least two ways. First, he let her dress as a boy when she was young, which may have contributed to her ideas about women's roles later in her life.Second, his views on social justice "also seem to have predisposed her to involvement with radical politics".
Between 1915 and 1917 or 1918 she attended the Lehr- und Versuchsanstalt für Photographie, a photography school in Munich, Germany, at which Frank Eugene's teaching of pictorialism in 1907-1913 had been influential.She opened a studio in Munich in approximately 1918, took portraits of Kurt Eisner and others, and befriended prominent people such as Rainer Maria Rilke, Friedrich Pollock, and Max Horkheimer.


Krull was politically active between 1918 and 1921. In 1919 she switched from the Independent Socialist Party of Bavaria to the Communist Party of Germany, and was arrested and imprisoned for assisting a Bolshevik emissary's attempted escape to Austria. She was expelled from Bavaria in 1920 for her Communist activities, and traveled to Russia with lover Samuel Levit. After Levit abandoned her in 1921, Krull was imprisoned as an "anti-Bolshevik" and expelled from Russia.


She lived in Berlin between 1922 and 1925 where she resumed her photographic career. She and Kurt Hübschmann (later to be known as Kurt Hutton) worked together in a Berlin studio between 1922 and 1924. Among other photographs Krull produced in Berlin were nudes that one reviewer has likened to "satires of lesbian pornography".


Having met Dutch filmmaker and communist Joris Ivens in 1923, she moved to Amsterdam in 1925.[1]:40-43 After Krull returned to Paris in 1926, Ivens and Krull entered into a marriage of convenience between 1927 and 1943 so that Krull could hold a Dutch passport and could have a "veneer of married respectability without sacrificing her autonomy".

In Paris between 1926 and 1928, Krull became friends with Sonia Delaunay, Robert Delaunay, Eli Lotar, André Malraux, Colette, Jean Cocteau, Andre Gide and others; her commercial work consisted of fashion photography, nudes, and portraits.[1]:83-89 During this period she published the portfolio Métal (1928) which concerned "the essentially masculine subject of the industrial landscape". Krull shot the portfolio's 64 black-and-white photographs in Paris, Marseille, and Holland during approximately the same period as Ivens was creating his film De Brug ("The Bridge") in Rotterdam, and the two artists may have influenced each other. The portfolio's subjects range from bridges, buildings (e.g., the Eiffel Tower), and ships to bicycle wheels; it can be read as either a celebration of machines or a criticism of them.Many of the photographs were taken from dramatic angles, and overall the work has been compared to that of László Moholy-Nagy and Alexander Rodchenko.In 1999-2004 the portfolio was selected as one of the most important photobooks in history.

By 1928 Krull was considered one of the best photographers in Paris, along with André Kertész and Man Ray.Between 1928 and 1933, her photographic work consisted primarily of photojournalism, such as her photographs for Vu, a French magazine, also in the early 1930s,she also made a pioneering study of employment black spots in Britain for Weekly Illustrated (most of her ground-breaking reportage work from this period remains immured in press archives and she has never received the credit which is her due for this work).Her book Études de Nu ("Studies of Nudes") published in 1930 is still well-known today. Between 1930 and 1935 she contributed photographs for a number of travel and detective fiction books.


In 1935-1940, Krull lived in Monte Carlo where she had a photographic studio. Among her subjects during this period were buildings (such as casinos and palaces), automobiles, celebrities, and common people.She may have been a member of the Black Star photojournalism agency which had been founded in 1935, but "no trace of her work appears in the press with that label".
In World War II, she became disenchanted with the Vichy France government, and sought to join the Free French Forces in Africa.Due to her Dutch passport and her need to obtain proper visas, her journey to Africa included over a year (1941–1942) in Brazil where she photographed the city of Ouro Preto. Between 1942 and 1944 she was in Brazzaville in Republic of the Congo, after which she spent several months in Algiers and then returned to France.

After World War II, she traveled to Southeast Asia as a war correspondent, but by 1946 had become a co-owner of the Oriental Hotel in Bangkok, Thailand, a role that she undertook until 1966.She published three books with photographs during this period, and also collaborated with Malraux on a project concerning the sculpture and architecture of Southeast Asia.
After retiring from the hotel business in 1966, she briefly lived near Paris, then moved to Northern India and converted to the Sakya school of Tibetan Buddhism. Her final major photographic project was the publication of a 1968 book Tibetans in India that included a portrait of the Dalai Lama. After a stroke, she moved to a nursing home in Wetzlar, Germany, where she died in 1985.























CINE&FOTOGRAFÍA

CINE&FOTOGRAFÍA
*RECOMENDACIONES*

Fur:An imaginary portrait of Diane Arbus -"Retrato de una obsesión"

Retrato de una obsesión (Fur:An imaginary portrait of Diane Arbus). Aunque no se trata de una producción estrictamente biografica, esta pelicula basada en la famosa novela “Diane Arbus: Una biografía” (1984), de Patricia Bosworth. Recorre el momento clave en que una ama de casa y ayudante esporadica en el estudio de su marido, decide fotografiar a algunos de sus vecinos atraida por el aspecto fisico de algunos de ellos, convirtiendose de ese modo en una de las autoras de mas importancia en el siglo XX.

*BLOW UP*(1966) ANTONIONI

"Blow-Up" dirigida por Michelangelo Antonioni y estrenada en 1966. Thomas (David Hemmings) es un cotizado fotógrafo londinense de moda. Una mañana, realiza unas instantáneas en un parque de las afueras, para ilustrar el libro de un amigo. Pero cuando las revela se da cuenta que hay un cadáver en una de las fotos... La historia está basada en el relato de Julio Cortázar Las babas del diablo. En el relato la pequeña historia y su significado es completamente distinto al del film de Antonioni. Meses más tarde al estreno de la película el director confesó que necesitaría otra película para explicar el significado de la misma.

"REAR WINDOW"-"LA VENTANA INDISCRETA"

"La ventana indiscreta"dirigida por Alfred Hitchcock en 1954, protagonizada por James Stewart y Grace Kelly. Está basada en un cuento de William Irish,"La ventana de enfrente". Un fotógrafo (James Stewart) recluido en su departamento debido a una pierna enyesada por culpa de un accidente, se dedica a hacer conjeturas acerca del extraño comportamiento de uno de sus vecinos de enfrente (Raymond Burr) al que espía valiéndose de toda herramienta a su alcance (cámara fotográfica, telescopio). El juego va complicándose, y entra en él su novia (Grace Kelly) y más tarde su enfermera (Thelma Ritter), quienes incluso entran a registrar la casa del vecino.

"Los puentes de Madison"(1995)

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"Los puentes de Madison"(1995) DIRECTOR Clint Eastwood
*Un fotografo de la National Geographic se pierde en el Condado de Madison y pide ayuda en una hermosa granja donde es atendido por Francesca. Entre los dos nace un amor sin limites , entre dos personas que tratan de vivir sus propias vidas a traves del otro*
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*CINE* "The Cameraman" Buster Keaton

*ETIQUETAS*

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