The Skin of the World: Horacio Coppola and Cinema

Autores
Oubiña, David Leonardo
Año de publicación
2015
Idioma
inglés
Tipo de recurso
artículo
Estado
versión publicada
Descripción
During the 1930s, Horacio Coppola made two trips to Europe: December 1930 - May 1931, and October 1932 - August 1935. These trips were, in a precise manner of speaking, apprenticeship experiences. Apprenticeships in photography and in cinematography. Coppola had begun taking photos at the end of the 1920s but, before leaving for Europe, his understanding of photography was basically intuitive. On the other hand, at that time, he was already a consummate cinephile with a very thorough understanding of the current state of cinematography. In Europe, he directed three short films: Sueño (Traum, 1933), Un dique en el Sena (Un quai de la Seine, 1934) and Un domingo en Hampstead Heath (A Sunday in Hampstead Heath, 1935). From the first one to the last one, Coppola goes through his own shift from the avant-garde to high modernism. Taken together, his three films reveal that, at least for a time, Coppola harbored the idea of devoting himself to cinema. In his itinerary as a photographer, cinema ended up taking a secondary position. But these films show that he investigated the specificity of the images in motion and, in there, searched to define a personal style and a gaze that is as revealing as it is non-transferable. (The article is the English version of a previous essay included in VV.AA., Horacio Coppola. Los viajes)
Fil: Oubiña, David Leonardo. Consejo Nacional de Investigaciones Científicas y Técnicas; Argentina. Universidad de Buenos Aires; Argentina
Materia
Horacio Coppola
Fotografía
Cine
Modernidad y Vanguardia
Nivel de accesibilidad
acceso abierto
Condiciones de uso
https://creativecommons.org/licenses/by-nc-sa/2.5/ar/
Repositorio
CONICET Digital (CONICET)
Institución
Consejo Nacional de Investigaciones Científicas y Técnicas
OAI Identificador
oai:ri.conicet.gov.ar:11336/43599
Acceder
id CONICETDig_b5b765b41de8665de67a86c3b78048ac
oai_identifier_str oai:ri.conicet.gov.ar:11336/43599
network_acronym_str CONICETDig
repository_id_str 3498
network_name_str CONICET Digital (CONICET)
spelling The Skin of the World: Horacio Coppola and CinemaOubiña, David LeonardoHoracio CoppolaFotografíaCineModernidad y Vanguardiahttps://purl.org/becyt/ford/6.4https://purl.org/becyt/ford/6During the 1930s, Horacio Coppola made two trips to Europe: December 1930 - May 1931, and October 1932 - August 1935. These trips were, in a precise manner of speaking, apprenticeship experiences. Apprenticeships in photography and in cinematography. Coppola had begun taking photos at the end of the 1920s but, before leaving for Europe, his understanding of photography was basically intuitive. On the other hand, at that time, he was already a consummate cinephile with a very thorough understanding of the current state of cinematography. In Europe, he directed three short films: Sueño (Traum, 1933), Un dique en el Sena (Un quai de la Seine, 1934) and Un domingo en Hampstead Heath (A Sunday in Hampstead Heath, 1935). From the first one to the last one, Coppola goes through his own shift from the avant-garde to high modernism. Taken together, his three films reveal that, at least for a time, Coppola harbored the idea of devoting himself to cinema. In his itinerary as a photographer, cinema ended up taking a secondary position. But these films show that he investigated the specificity of the images in motion and, in there, searched to define a personal style and a gaze that is as revealing as it is non-transferable. (The article is the English version of a previous essay included in VV.AA., Horacio Coppola. Los viajes)Fil: Oubiña, David Leonardo. Consejo Nacional de Investigaciones Científicas y Técnicas; Argentina. Universidad de Buenos Aires; ArgentinaCarfax Publishing Ltd.2015-06info:eu-repo/semantics/articleinfo:eu-repo/semantics/publishedVersionhttp://purl.org/coar/resource_type/c_6501info:ar-repo/semantics/articuloapplication/pdfapplication/pdfhttp://hdl.handle.net/11336/43599Oubiña, David Leonardo; The Skin of the World: Horacio Coppola and Cinema; Carfax Publishing Ltd.; Journal of Latin American Cultural Studies; 24; 2; 6-2015; 207-2211356-9325CONICET DigitalCONICETenginfo:eu-repo/semantics/altIdentifier/doi/10.1080/13569325.2015.1040744info:eu-repo/semantics/altIdentifier/url/https://www.tandfonline.com/doi/full/10.1080/13569325.2015.1040744info:eu-repo/semantics/openAccesshttps://creativecommons.org/licenses/by-nc-sa/2.5/ar/reponame:CONICET Digital (CONICET)instname:Consejo Nacional de Investigaciones Científicas y Técnicas2025-09-29T09:38:31Zoai:ri.conicet.gov.ar:11336/43599instacron:CONICETInstitucionalhttp://ri.conicet.gov.ar/Organismo científico-tecnológicoNo correspondehttp://ri.conicet.gov.ar/oai/requestdasensio@conicet.gov.ar; lcarlino@conicet.gov.arArgentinaNo correspondeNo correspondeNo correspondeopendoar:34982025-09-29 09:38:31.343CONICET Digital (CONICET) - Consejo Nacional de Investigaciones Científicas y Técnicasfalse
dc.title.none.fl_str_mv The Skin of the World: Horacio Coppola and Cinema
title The Skin of the World: Horacio Coppola and Cinema
spellingShingle The Skin of the World: Horacio Coppola and Cinema
Oubiña, David Leonardo
Horacio Coppola
Fotografía
Cine
Modernidad y Vanguardia
title_short The Skin of the World: Horacio Coppola and Cinema
title_full The Skin of the World: Horacio Coppola and Cinema
title_fullStr The Skin of the World: Horacio Coppola and Cinema
title_full_unstemmed The Skin of the World: Horacio Coppola and Cinema
title_sort The Skin of the World: Horacio Coppola and Cinema
dc.creator.none.fl_str_mv Oubiña, David Leonardo
author Oubiña, David Leonardo
author_facet Oubiña, David Leonardo
author_role author
dc.subject.none.fl_str_mv Horacio Coppola
Fotografía
Cine
Modernidad y Vanguardia
topic Horacio Coppola
Fotografía
Cine
Modernidad y Vanguardia
purl_subject.fl_str_mv https://purl.org/becyt/ford/6.4
https://purl.org/becyt/ford/6
dc.description.none.fl_txt_mv During the 1930s, Horacio Coppola made two trips to Europe: December 1930 - May 1931, and October 1932 - August 1935. These trips were, in a precise manner of speaking, apprenticeship experiences. Apprenticeships in photography and in cinematography. Coppola had begun taking photos at the end of the 1920s but, before leaving for Europe, his understanding of photography was basically intuitive. On the other hand, at that time, he was already a consummate cinephile with a very thorough understanding of the current state of cinematography. In Europe, he directed three short films: Sueño (Traum, 1933), Un dique en el Sena (Un quai de la Seine, 1934) and Un domingo en Hampstead Heath (A Sunday in Hampstead Heath, 1935). From the first one to the last one, Coppola goes through his own shift from the avant-garde to high modernism. Taken together, his three films reveal that, at least for a time, Coppola harbored the idea of devoting himself to cinema. In his itinerary as a photographer, cinema ended up taking a secondary position. But these films show that he investigated the specificity of the images in motion and, in there, searched to define a personal style and a gaze that is as revealing as it is non-transferable. (The article is the English version of a previous essay included in VV.AA., Horacio Coppola. Los viajes)
Fil: Oubiña, David Leonardo. Consejo Nacional de Investigaciones Científicas y Técnicas; Argentina. Universidad de Buenos Aires; Argentina
description During the 1930s, Horacio Coppola made two trips to Europe: December 1930 - May 1931, and October 1932 - August 1935. These trips were, in a precise manner of speaking, apprenticeship experiences. Apprenticeships in photography and in cinematography. Coppola had begun taking photos at the end of the 1920s but, before leaving for Europe, his understanding of photography was basically intuitive. On the other hand, at that time, he was already a consummate cinephile with a very thorough understanding of the current state of cinematography. In Europe, he directed three short films: Sueño (Traum, 1933), Un dique en el Sena (Un quai de la Seine, 1934) and Un domingo en Hampstead Heath (A Sunday in Hampstead Heath, 1935). From the first one to the last one, Coppola goes through his own shift from the avant-garde to high modernism. Taken together, his three films reveal that, at least for a time, Coppola harbored the idea of devoting himself to cinema. In his itinerary as a photographer, cinema ended up taking a secondary position. But these films show that he investigated the specificity of the images in motion and, in there, searched to define a personal style and a gaze that is as revealing as it is non-transferable. (The article is the English version of a previous essay included in VV.AA., Horacio Coppola. Los viajes)
publishDate 2015
dc.date.none.fl_str_mv 2015-06
dc.type.none.fl_str_mv info:eu-repo/semantics/article
info:eu-repo/semantics/publishedVersion
http://purl.org/coar/resource_type/c_6501
info:ar-repo/semantics/articulo
format article
status_str publishedVersion
dc.identifier.none.fl_str_mv http://hdl.handle.net/11336/43599
Oubiña, David Leonardo; The Skin of the World: Horacio Coppola and Cinema; Carfax Publishing Ltd.; Journal of Latin American Cultural Studies; 24; 2; 6-2015; 207-221
1356-9325
CONICET Digital
CONICET
url http://hdl.handle.net/11336/43599
identifier_str_mv Oubiña, David Leonardo; The Skin of the World: Horacio Coppola and Cinema; Carfax Publishing Ltd.; Journal of Latin American Cultural Studies; 24; 2; 6-2015; 207-221
1356-9325
CONICET Digital
CONICET
dc.language.none.fl_str_mv eng
language eng
dc.relation.none.fl_str_mv info:eu-repo/semantics/altIdentifier/doi/10.1080/13569325.2015.1040744
info:eu-repo/semantics/altIdentifier/url/https://www.tandfonline.com/doi/full/10.1080/13569325.2015.1040744
dc.rights.none.fl_str_mv info:eu-repo/semantics/openAccess
https://creativecommons.org/licenses/by-nc-sa/2.5/ar/
eu_rights_str_mv openAccess
rights_invalid_str_mv https://creativecommons.org/licenses/by-nc-sa/2.5/ar/
dc.format.none.fl_str_mv application/pdf
application/pdf
dc.publisher.none.fl_str_mv Carfax Publishing Ltd.
publisher.none.fl_str_mv Carfax Publishing Ltd.
dc.source.none.fl_str_mv reponame:CONICET Digital (CONICET)
instname:Consejo Nacional de Investigaciones Científicas y Técnicas
reponame_str CONICET Digital (CONICET)
collection CONICET Digital (CONICET)
instname_str Consejo Nacional de Investigaciones Científicas y Técnicas
repository.name.fl_str_mv CONICET Digital (CONICET) - Consejo Nacional de Investigaciones Científicas y Técnicas
repository.mail.fl_str_mv dasensio@conicet.gov.ar; lcarlino@conicet.gov.ar
_version_ 1844613217363427328
score 13.070432

Publicaciones similares