La percepción no conceptual en el cine etnográfico de jorge prelorán (Argentina, 1960/1970)

Autores
Campo, Javier Alberto
Año de publicación
2017
Idioma
español castellano
Tipo de recurso
artículo
Estado
versión publicada
Descripción
The prominent figure in Argentine ethnographic film has long been Jorge Prelorán. He is the filmmaker who has perhaps most thoroughly reflected on his practice. Prelorán defined in his work and writings what he meant by ethnographic film: neither ethnography nor cinema, but rather both at once. Neither science nor art, but located in the middle of the magnetic field that both areas radiate. He made about fifty ethnographic documentaries in Argentina. Prelorán built his career on the idea that all images that can be combined to make a film are part of this infinite bank of things that can be called "the universe." If the world of film images is independent, to say they are "created" as a "representation" is impertinent. Under this conception, the subject is no longer the center; therefore, he is not entirely in control of his creation. Gilles Deleuze understood this quite well in his revolutionizing contributions to film studies. Movement-image film is action and reaction, a constant updating of the operation of a sensory-motor mechanism. In the development of these problematic issues through the films of the Argentine filmmaker, I will discuss principles that movie studios have considered as revealed truths, including the concept of authorship.
Fil: Campo, Javier Alberto. Consejo Nacional de Investigaciones Científicas y Técnicas; Argentina. Universidad de Buenos Aires; Argentina
Materia
Argentine Ethnographic Film
Heterodox
Jorge PrelorÁN Anthropocentric
Perception
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:11336/77625
Acceder
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spelling La percepción no conceptual en el cine etnográfico de jorge prelorán (Argentina, 1960/1970)Campo, Javier AlbertoArgentine Ethnographic FilmHeterodoxJorge PrelorÁN AnthropocentricPerceptionhttps://purl.org/becyt/ford/6.4https://purl.org/becyt/ford/6The prominent figure in Argentine ethnographic film has long been Jorge Prelorán. He is the filmmaker who has perhaps most thoroughly reflected on his practice. Prelorán defined in his work and writings what he meant by ethnographic film: neither ethnography nor cinema, but rather both at once. Neither science nor art, but located in the middle of the magnetic field that both areas radiate. He made about fifty ethnographic documentaries in Argentina. Prelorán built his career on the idea that all images that can be combined to make a film are part of this infinite bank of things that can be called "the universe." If the world of film images is independent, to say they are "created" as a "representation" is impertinent. Under this conception, the subject is no longer the center; therefore, he is not entirely in control of his creation. Gilles Deleuze understood this quite well in his revolutionizing contributions to film studies. Movement-image film is action and reaction, a constant updating of the operation of a sensory-motor mechanism. In the development of these problematic issues through the films of the Argentine filmmaker, I will discuss principles that movie studios have considered as revealed truths, including the concept of authorship.Fil: Campo, Javier Alberto. Consejo Nacional de Investigaciones Científicas y Técnicas; Argentina. Universidad de Buenos Aires; ArgentinaAltrimedia Edizioni2017-02info:eu-repo/semantics/articleinfo:eu-repo/semantics/publishedVersionhttp://purl.org/coar/resource_type/c_6501info:ar-repo/semantics/articuloapplication/pdfapplication/pdfhttp://hdl.handle.net/11336/77625Campo, Javier Alberto; La percepción no conceptual en el cine etnográfico de jorge prelorán (Argentina, 1960/1970); Altrimedia Edizioni; Visual Ethnography; 5; 2; 2-2017; 139-1552281-1605CONICET DigitalCONICETspainfo:eu-repo/semantics/altIdentifier/url/http://www.vejournal.org/index.php/vejournal/article/view/106info:eu-repo/semantics/altIdentifier/doi/10.12835/ve2016.2-0070info:eu-repo/semantics/openAccesshttps://creativecommons.org/licenses/by-nc-sa/2.5/ar/reponame:CONICET Digital (CONICET)instname:Consejo Nacional de Investigaciones Científicas y Técnicas2025-09-03T09:44:50Zoai:ri.conicet.gov.ar:11336/77625instacron: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:34982025-09-03 09:44:51.072CONICET Digital (CONICET) - Consejo Nacional de Investigaciones Científicas y Técnicasfalse
dc.title.none.fl_str_mv La percepción no conceptual en el cine etnográfico de jorge prelorán (Argentina, 1960/1970)
title La percepción no conceptual en el cine etnográfico de jorge prelorán (Argentina, 1960/1970)
spellingShingle La percepción no conceptual en el cine etnográfico de jorge prelorán (Argentina, 1960/1970)
Campo, Javier Alberto
Argentine Ethnographic Film
Heterodox
Jorge PrelorÁN Anthropocentric
Perception
title_short La percepción no conceptual en el cine etnográfico de jorge prelorán (Argentina, 1960/1970)
title_full La percepción no conceptual en el cine etnográfico de jorge prelorán (Argentina, 1960/1970)
title_fullStr La percepción no conceptual en el cine etnográfico de jorge prelorán (Argentina, 1960/1970)
title_full_unstemmed La percepción no conceptual en el cine etnográfico de jorge prelorán (Argentina, 1960/1970)
title_sort La percepción no conceptual en el cine etnográfico de jorge prelorán (Argentina, 1960/1970)
dc.creator.none.fl_str_mv Campo, Javier Alberto
author Campo, Javier Alberto
author_facet Campo, Javier Alberto
author_role author
dc.subject.none.fl_str_mv Argentine Ethnographic Film
Heterodox
Jorge PrelorÁN Anthropocentric
Perception
topic Argentine Ethnographic Film
Heterodox
Jorge PrelorÁN Anthropocentric
Perception
purl_subject.fl_str_mv https://purl.org/becyt/ford/6.4
https://purl.org/becyt/ford/6
dc.description.none.fl_txt_mv The prominent figure in Argentine ethnographic film has long been Jorge Prelorán. He is the filmmaker who has perhaps most thoroughly reflected on his practice. Prelorán defined in his work and writings what he meant by ethnographic film: neither ethnography nor cinema, but rather both at once. Neither science nor art, but located in the middle of the magnetic field that both areas radiate. He made about fifty ethnographic documentaries in Argentina. Prelorán built his career on the idea that all images that can be combined to make a film are part of this infinite bank of things that can be called "the universe." If the world of film images is independent, to say they are "created" as a "representation" is impertinent. Under this conception, the subject is no longer the center; therefore, he is not entirely in control of his creation. Gilles Deleuze understood this quite well in his revolutionizing contributions to film studies. Movement-image film is action and reaction, a constant updating of the operation of a sensory-motor mechanism. In the development of these problematic issues through the films of the Argentine filmmaker, I will discuss principles that movie studios have considered as revealed truths, including the concept of authorship.
Fil: Campo, Javier Alberto. Consejo Nacional de Investigaciones Científicas y Técnicas; Argentina. Universidad de Buenos Aires; Argentina
description The prominent figure in Argentine ethnographic film has long been Jorge Prelorán. He is the filmmaker who has perhaps most thoroughly reflected on his practice. Prelorán defined in his work and writings what he meant by ethnographic film: neither ethnography nor cinema, but rather both at once. Neither science nor art, but located in the middle of the magnetic field that both areas radiate. He made about fifty ethnographic documentaries in Argentina. Prelorán built his career on the idea that all images that can be combined to make a film are part of this infinite bank of things that can be called "the universe." If the world of film images is independent, to say they are "created" as a "representation" is impertinent. Under this conception, the subject is no longer the center; therefore, he is not entirely in control of his creation. Gilles Deleuze understood this quite well in his revolutionizing contributions to film studies. Movement-image film is action and reaction, a constant updating of the operation of a sensory-motor mechanism. In the development of these problematic issues through the films of the Argentine filmmaker, I will discuss principles that movie studios have considered as revealed truths, including the concept of authorship.
publishDate 2017
dc.date.none.fl_str_mv 2017-02
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/11336/77625
Campo, Javier Alberto; La percepción no conceptual en el cine etnográfico de jorge prelorán (Argentina, 1960/1970); Altrimedia Edizioni; Visual Ethnography; 5; 2; 2-2017; 139-155
2281-1605
CONICET Digital
CONICET
url http://hdl.handle.net/11336/77625
identifier_str_mv Campo, Javier Alberto; La percepción no conceptual en el cine etnográfico de jorge prelorán (Argentina, 1960/1970); Altrimedia Edizioni; Visual Ethnography; 5; 2; 2-2017; 139-155
2281-1605
CONICET Digital
CONICET
dc.language.none.fl_str_mv spa
language spa
dc.relation.none.fl_str_mv info:eu-repo/semantics/altIdentifier/url/http://www.vejournal.org/index.php/vejournal/article/view/106
info:eu-repo/semantics/altIdentifier/doi/10.12835/ve2016.2-0070
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 Altrimedia Edizioni
publisher.none.fl_str_mv Altrimedia Edizioni
dc.source.none.fl_str_mv reponame:CONICET Digital (CONICET)
instname:Consejo Nacional de Investigaciones Científicas y Técnicas
reponame_str CONICET Digital (CONICET)
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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
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