Cuevas, E. (Efrén)
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- Conte d'été de Éric Rohmer: claves de interpretación narratológica, espacio-temporal y temática(2017) Cuevas, E. (Efrén); Nozal, T. (Teresa)Resumen. En 2016 se cumplieron veinte años del estreno de Conte d’été , la tercera película del cineasta Éric Rohmer en su conocida serie Contes des quatre saisons. Con ocasión de este aniversario se estudia Conte d’été a partir de una metodología de análisis textual, centrado en tres niveles interdependientes, que combinan las principales aportaciones del análisis narratológico y la crítica temática. En el primer nivel, se disecciona la estructura narrativa del filme, siguiendo la metodología propuesta por Gerard Genette trasvasada al cine. En el segundo nivel se analiza el espacio y tiempo intradiegéticos. Y en el tercer nivel se realiza el análisis temático, en el que a partir de lo visto en los análisis anteriores, se destacan algunas de las constantes del cine rohmeriano presentes en Conte’été, entre las que cabe destacar los conflictos en torno a la elección de pareja, el azar y su papel en la vida del protagonista, o las dificultades en la comunicación personal, vehiculadas a través de una locuacidad verbal sobre los propios sentimientos. Abstract. In 2016 we commemorate the 20th anniversary of the release of Conte d'été, the third film by filmmaker Éric Rohmer in his well-known series Contes des quatre saisons. On this occasion we offer an analysis of Conte d'été following a methodology of textual analysis, focusing on three interdependent levels that combine the main contributions of narratological analysis and thematic criticism. At the first level, the narrative structure of the film is analyzed, with the methodology proposed by Gerard Genette applied to cinema. On the second level intradiegetic space and time is analyzed. The third level deals with thematic anlysis, which highlights some of the constants of Rohmer’s films present in Conte d'été: the conflicts around the couple, chance and its role in the life of the protagonist, or the difficulties in personal communication, conveyed through a verbal loquacity about feelings.
- Sombras reflejadas. Apropiaciones del cine doméstico español en el cine documental(Diputación Provincial de Huesca, 2018-11) Cuevas, E. (Efrén)El capítulo pretende realizar una aproximación a las claves del cine doméstico –que aquí entiendo en sentido amplio, incluyendo el realizado en soporte celuloide, vídeo o digital–, para a continuación centrarse en las propuestas de reciclaje y apropiación del cine doméstico español que se han realizado desde el cine documental.
- New Paths for Exploring 'History from Below': Microhistorical Documentaries(2023-07) Cuevas, E. (Efrén)This article proposes a specific category of documentaries that adopt a unique approach to explore the past, and which are referred to here as “microhistorical documentaries.” These films fall within the basic parameters of written microhistory, a historiographical trend that emerged in the 1970s under the broader umbrella of “history from below.” Those parameters include a reduced scale of observation, a central role given to human agency, a conjectural approach to archival research, and a reliance on narrative structures. But microhistorical documentaries also exhibit specific traits of their own, such as underscoring the affective dimension, using autobiographical and essayistic perspectives, drawing on the protagonists’ personal memories to reconstruct the past, and using family archives (mainly snapshots and home movies). Films of this kind therefore differ markedly from the informational/expository model of the conventional historical documentary, sharing features with a certain type of contemporary documentary, with some traits that can be linked to a postmodern sensibility.
- Sculpting the Self: Autobiography according to Ross McElwee(Ediciones Internacionales Universitarias, 2008-02) Cuevas, E. (Efrén)Análisis de la dimensión autobiográfica del cine de Ross McElwee, de los personajes que crea en torno a su persona real, y a la dimensión de crónica histórica que adquiere su cine. En inglés y castellano. Analysis of the autobiographical dimension of the films of Ross McElwee, of the characters he creates around his real self, and of the historical chronicle visible in his films. In English and Spanish.
- The Immigrant Experience in Jonas Mekas’s Diary Films: A Chronotopic Analysis of Lost, Lost, Lost(University of Hawai'i Press, 2006) Cuevas, E. (Efrén)The article analyzes Jonas Mekas's immigrant experience as portrayed in his film Lost, Lost, Lost (1976). This film constitutes a singular case within immigrant autobiography in cinema because of its diary format and because most of the attempts to portray the immigrant experience autobiographically in film have been done by second and third generation immigrants. In my analysis, I look first at Mekas’s diary films and then I examine the film helped by the chronotopic approach proposed by Mikhail Bakhtin for literary analysis. I intend to show that Bakhtin’s proposals provide a valuable approach to the study of immigrant autobiographies in cinema, since the film medium is so tied to the experience of time and space, both so crucial in the development of immigrant identity in the new country.
- Diálogos entre el documental y la vanguardia en clave autobiográfica(2005) Cuevas, E. (Efrén)El capítulo pretende describir los principales conceptos en juego en el diálogo entre documental, vanguardia y autobiografía, y señalar las prácticas más habituales a las que han dado lugar desde los años sesenta hasta nuestros días. Se comienza esbozando el marco conceptual de referencia, para luego adentrarnos en los dos itinerarios básicos de este territorio: el formato diario y el retrato. A lo largo de nuestra exploración nos iremos parando en filmes significativos de esta práctica documental autobiográfica, con especial énfasis en aquellos que muestren puentes más claros con las vanguardias cinematográficas, como es el caso de Jonas Mekas, al que se le ha dedicado un epígrafe específico debido a su particular significación en este contexto.
- Change of Scale: Home Movies as Microhistory in Documentary Films(Bloomsbury, 2014-02) Cuevas, E. (Efrén)An increasing number of documentary filmmakers are using home movies to create films that can be termed as “historical,” insofar as they are using the domestic footage to provide portrayals of past times and societies. But those are not typical documentaries, in the sense that they do not follow the grand historical events, but the quotidian events of different families, as home movies usually do. This way of “making History” shows a striking parallel with the historiographical approaches defending a “History from below,” like the microhistorical proposals of Carlo Ginzburg or the Alltagsgeschichte –a History of the quotidian– of Alf Lüdtke. In my chapter I analyze how these documentaries dialogue with those historiographical approaches, offering an alternative historical chronicle thanks to the “change of scale” provided by home movies, while also exploring new ways of making documentaries speak about History. Within that practice, I would focus on two venues. First, the collective chronicles where the filmmaker resorts to a wide gamut of home movies, not just related to a single family. This is the case of films like "Something Strong Within" (about the Japanese Americans during the 40s), or "Tchastnye Khroniki. Monolog" (covering the life of Russian people from the 60s to the 80s). The other practice focuses on a single family as the central topic of the documentary. The best known case are the films of Peter Forgacs, but there are many other examples, specially coming from an autobiographical position, like "For My Children" (about the Israeli-Palestinian conflict) or "I for India."
- “Cycles of Life: El cielo gira and Spanish Autobiographical Documentary”(Wallflower Press, 2012) Cuevas, E. (Efrén)This chapter intends to examine in the first place why Spanish filmmakers have scarcely adopted an autobiographical approach to documentary, while commenting briefly on those that have appeared during the 2000s. Then, I will analyse closely El cielo gira, which can be considered the best autobiographical film to date from Spain. Its approach may serve as an example of a certain type of Spanish documentary, where it blends an auterist look with a contemplative style, in order to explore in this case the layers of our country with a microhistorical lens.
- Ángel QUINTANA. Fábulas de lo visible. El cine como creador de realidades. Acantilado, Barcelona, 2003, 312 pp.(Servicio de Publicaciones de la Universidad de Navarra, 2004) Cuevas, E. (Efrén)
- De vuelta a casa. Variaciones del documental realizado con cine doméstico(Ocho y Medio, 2010-05) Cuevas, E. (Efrén)Estudio de los diferentes reciclajes que se ha hecho del cine doméstico en el documental contemporáneo, tanto en clave autobiográfica como más histórica o ensayística.