Cinema History and Criticism
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Abstract
Abstract
A significant number of contemporary auteur narratives films, focuses on a subjective perspective. This films has, of course, generated a new poetics, with new visual and audiovisual codes. This subjective narrative, in its intersection with cinematography, produces a poetics with a clearly identifiable language and its own characteristics, inspired on experimental cinema, video art, and home movies, as demonstrated by researches such as Philippe Dubois and Efrén Cuevas Álvarez. The aim of this analysis is to explore the aesthetic keys that make subjective cinema a distinct and defined genre, such as the intermittent presence of the authorial subject; the staging of subjectivity through resources like voice, memory, and images in diverse formats; spatiotemporal dislocations; and direct gazes into the camera; among others, to analyze the extent to which these elements can operate as devices that deconstruct the fictional narrative of the self and memory. The hypothesis is that subjective cinema becomes less spectacularized when it adopts some of the keys explored by art cinema, video art, and even 17th-century genre painting, among other artistic expressions that will be mentioned.
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@article{Gadea2026Cine,
title = {Cine y arte: crítica de una subjetividad espectacularizada},
author = {Florencia Varela Gadea},
journal = {AVANCA | CINEMA},
year = {2026},
doi = {10.37390/avancacinema.2026.a706},
url = {https://doi.org/10.37390/avancacinema.2026.a706}
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