Publication: Pinturas y esculturas como metáforas argumentales en el cine de Pedro Almodóvar
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2020-10-22
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Universidad de Sevilla
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Abstract
El presente trabajo estudia la presencia de pinturas y esculturas en el cine de Pedro Almodóvar y constata como estas, muchas veces, no constituyen meros elementos de atrezo, sino que tienen un valor de significado. Son metáforas argumentales, "claves para descifrar". Definen los espacios de representación, caracterizan el comportamiento y los sentimientos de los protagonistas, aportan las claves temáticas, ilustran la acción y referencian tiempos y lugares. Incluso, diferencian las clases sociales. Se analiza así, el sentido que alcanzan obras de Tiziano, Warhol, Tàpies, Úrculo, Barceló, Bourgeois o Navarro en la filmografía almodovariana en general y en los ejemplos concretos de La piel que habito (2011), Julieta (2016) y Dolor y gloria (2019).
This paper studies the presence of paintings and sculptures in the Pedro Almodóvar's cinema and exposes how, many times, they are not mere elements of props but have a meaning value. They are plot metaphors, "keys to deciphering". They define the spaces of representation, characterize the behavior and feelings of the protagonists, provide the thematic keys, illustrate the action and reference times and places. They even differentiate social classes. Thus, the paper analyzes the meaning that works by Tiziano, Warhol, Tàpies, Úrculo, Barceló, Bourgeois or Navarro reach in Almodovarian filmography in general and in the concrete examples of La piel que habito (2011), Julieta (2016) and Dolor y gloria (2019).
This paper studies the presence of paintings and sculptures in the Pedro Almodóvar's cinema and exposes how, many times, they are not mere elements of props but have a meaning value. They are plot metaphors, "keys to deciphering". They define the spaces of representation, characterize the behavior and feelings of the protagonists, provide the thematic keys, illustrate the action and reference times and places. They even differentiate social classes. Thus, the paper analyzes the meaning that works by Tiziano, Warhol, Tàpies, Úrculo, Barceló, Bourgeois or Navarro reach in Almodovarian filmography in general and in the concrete examples of La piel que habito (2011), Julieta (2016) and Dolor y gloria (2019).
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Cine y pintura, Cine Y Escultura, Pedro Almodóvar, Escenografía, Dolor y Gloria, Cinema and painting, Cinema and sculpture, Scenography
Bibliographic citation
Camarero Gómez, G. (2020). Pinturas y esculturas como metáforas argumentales en el cine de Pedro Almodóvar. Laboratorio de arte, 32, 547-562.