Planes-Pedreño, J. A. (José Antonio)
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- The visual poetry in the film criticism of Ángel Fernández-Santos(Servicio de Publicaciones de la Universidad de Navarra, 2015) Pérez-Díaz, P. L. (Pedro Luis); Planes-Pedreño, J. A. (José Antonio)Very often, it is difficult in the film criticism to distinguish the aesthetic principles of the films which are judged as excellent, non-standard or, even, masterpieces. Within the film criticism of Ángel Fernández-Santos, one of the most prestigious film critics in the history of Spanish cinema, ‘visual poetry’ is a recurrent concept that allows us to identify these principles. It is a term that, within his evaluative arguments, constitutes one out of three great stylistic strategies which, due to their difficulty and complexity when applied in the filmmaking, the critic tends to associate with the highest levels of the aesthetic quality. The other two strategies are the ‘transparency/depth dichotomy’ and the ‘expressive paradoxes’. In this paper, we focus on the film aesthetic patterns of Ángel Fernández-Santos in order to extract from his reviews only the definition, features and typologies of the visual poetry concept where it is clearly used. Those writings come from his journalist career in the newspaper El País (1982-2004), and they are devoted to analyse a range of audiovisual productions of different periods and styles; but before that, we will make reference to the origins and the application of the visual poetry concept in the legacy of the film theory and criticism with the aim of highlighting the influences that, (in this field) determine the aesthetic scope in the film reviews of Fernández-Santos
- Old wine in new bottles. Narrative complexity in the dawn of Netflix Originals (2013-2017)(Servicio de Publicaciones de la Universidad de Navarra, 2024) García-Martínez, A.N. (Alberto Nahum); Planes-Pedreño, J. A. (José Antonio)This article explores how the first five years of Netflix Originals dramatic storytelling fit the “Complex TV” label that Mittell defined, with its innovative season-drop delivery strategy. We focus on one narratological device: the delimited flashback, the predominant type of analepsis in the 33 pilot episodes that made up our sample. Although the delimited flashbacks analyzed are semantically diverse, the discussion combines quantitative data with a qualitative analysis focusing on three key elements: the objects and places that trigger the characters’ memories, the contradictory or parallel relationship between timeframes, and the violation of boundaries between narrative layers.
- Flashbacks in Netflix Original TV Series (2013-2017): Predominant Categories, Formal Features, and Semantic Effects(2022-06-29) García-Martínez, A.N. (Alberto Nahum); Pérez-Morán, E. (Ernesto); Planes-Pedreño, J. A. (José Antonio)This article presents a quantitative and qualitative analysis of formal and semantic trends of the flashback in Netflix original drama series between 2013 and 2017. The purpose is to determine whether such temporal digressions are commonplace to develop a better understanding of the evolution of television storytelling in the streaming era. The method applied involves a scene-by-scene quantitative analysis of temporality in 33 pilot episodes, an original methodology in television narratology. This is followed by a theoretical definition of the five categories of flashback: delimited, expository, undefined, independent, and oneiric. Tables displaying the data support the results of the study. The subsequent discussion combines the data with a qualitative analysis to identify patterns in how Netflix dramas juxtapose the five categories of flashbacks. Three conclusions are offered: the prevalence of temporal disruptions; the wide variety of flashback categories appearing in Netflix drama series; and the formal simplicity using these tropes.