Fe en la realidadel encuentro del documental y la ficción en el cine de Martin Scorsese
-
1
Universidad de Murcia
info
ISSN: 1138-3305, 2340-5007
Ano de publicación: 2013
Título do exemplar: Nous temes, mètodes i teories en la investigación de les polítiques culturals i de comunicación a Espanya
Número: 32
Páxinas: 185-204
Tipo: Artigo
Outras publicacións en: Trípodos
Resumo
Martin Scorsese’s career as a filmmakerhas been closely related to documentaryfilms, both by his making moviesin this genre and by adding elementsthat usually characterize documentaryfilms to his fictional movies. The presentarticle aims to approach the dialoguebetween fiction and documentary inhis work. Scorsese resorts to documentarytechniques such as improvised orspontaneous filming, the use of randomelements and strategies to capture theunpredictable. In fact, the impact andstrength he attains in his fictional filmsare greatly due to how he applies thesetechniques and masters the relationshipbetween these genres.
Referencias bibliográficas
- Alberich, E. (1999). Martin Scorsese: Vivir el cine. Barcelona: Ediciones Glénat.
- Anónimo (2005). Scorsese Praises Reality. Today’s Buzz Stories. 12 Abril 2005. Disponible en: <http://www.cnn.com/2005/SHOWBIZ/04/12/showbuzz/#1>. Consultado el 7 de agosto de 2011.
- Bazin, A. (1971). What is Cinema? Volume II. California: University of California.
- Christie, I.; Thompson, D. (2003). Scorsese on Scorsese. London: Faber & Faber.
- Donato, R. (2007). “Docufictions: An Interview with Martin Scorsese on Documentary Film”. Film History. Vol. 19, n. 2, p. 199-207.
- Ebert, R. (2008). Scorsese by Ebert. Chicago: The University of Chicago Press.
- Hodenfield, Ch. (1999). “You’ve Got to Love Something Enough to Kill It: The Art of Non-Compromise”. En: Brunette, P. (ed.) Martin Scorsese: Interviews. Jackson: University Press of Mississippi.
- Jackson, K. (2004). Schrader on Schrader. London: Faber & Faber.
- Jones, K. (2007). Physical Evidence: Selected Film Criticism. Middletown, Connecticut: Wesleyan University Press.
- Kelly, M.P. (1980). Martin Scorsese: The First Decade. New York: Redgrave Publishing Co.
- Kelly, M.P. (1997). Martin Scorsese: A Journey. New York: Thunder’s Mouth. Press.
- Kolker, R. (2000). A Cinema of Loneliness: Penn, Stone, Kubrick, Scorsese, Spielberg, Altman. New York: Oxford University Press.
- Morin, E. (2001). El cine o el hombre imaginario. Barcelona: Paidós Comunicación.
- Naremore, J. (1988). Acting in the Cinema. Los Angeles: University of California Press.
- Nichols, B. (1991). Representing Reality: Is-sues and Concepts in Documentary. Bloomington, Indiana: Indiana University Press.
- Nichols, B. (2010). Introduction to Documentary. Bloomington and Indianapolis: Indiana University Press.
- Rhodes, G.D.; Springer, J.P. (2005). Docufictions: Essays on the Intersection of Documentary and Fictional Filmmaking. Jefferson, North Carolina: McFarland & Company.
- Sanders, J. (2006). Scenes From the City: Filmmaking in New York. New York: Rizzoli.
- Schickel, R. (2011). Conversations with Scorsese. New York: Alfred A. Knopff.
- Scorsese, M. (1998). Fact and Fiction. Double Take Magazine. Primavera 1998. Disponible en: <http://members.cox.net/scorseseinfo/articles/DT.html>. Consultado el 15 de agosto de 2011.
- Smith, G. (1999). “Martin Scorsese Interviewed”. En: Brunette, P. (ed.) Martin Scorsese: Interviews. Jackson: University Press of Mississippi.
- Wexman, V.W. (1980). “The Rhetoric of Cinematic Improvisation”. Cinema Journal. Vol. 20, n. 1, p. 29-41.
- Wilson, M.H. (2011).Scorsese on Scorsese. Paris: Cahiers du Cinéma.