Frida Kalho: the look of cinema
The film biography titled Frida [2002] produced by the American director and director Julie Taymor, relates the life of the Mexican painter whilebeing inspired mainly by the book which devoted Hayden Herrera to him. It recounts the tumultuous life of the artist since his young student life,his accid...
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| Format: | Online |
| Language: | spa |
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Centro de Investigaciones y Estudios sobre Cultura y Sociedad
2020
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| Online Access: | https://revistas.unc.edu.ar/index.php/eticaycine/article/view/29224 |
| _version_ | 1811172826300809216 |
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| author | Scotto Di Vettimo, Delphine |
| author_facet | Scotto Di Vettimo, Delphine |
| author_sort | Scotto Di Vettimo, Delphine |
| collection | Portal de Revistas |
| description | The film biography titled Frida [2002] produced by the American director and director Julie Taymor, relates the life of the Mexican painter whilebeing inspired mainly by the book which devoted Hayden Herrera to him. It recounts the tumultuous life of the artist since his young student life,his accident and his passionate relationship with the muralist Diego Rivera.Numerous references to Frida Kahlo’s paintings are included in the scenography and recall the richness and complexity of her work: more than onehundred and forty paintings, of which fifty are self-portraits, which come in different themes: politics, Mexicanism, love, nature, suffering, femininity or even death.It is from the analysis of a particular scene [which galvanizes the radicality of the abortion test and offers a framework for the expression of the temporality specific to this event, which I qualify as traumatic] that this article, which stands at the crossroads of cinema and psychoanalysis, explains adecisive stage in the creative process in Frida Kahlo.Here, the examination of the dialectic between creative process and trauma, allows us to grasp, in the nascent state, the implementation of modes ofpictorial creation which sign a new temporality in his pictorial art.Beyond that, the challenge of the biopic is to succeed on the one hand in weaving, modeling, staging and images the life of this extraordinary artist;and on the other hand to allow the spectator to discover the entanglement between the creative subjectivity of the artist and his work. |
| format | Online |
| id | oai:ojs.revistas.unc.edu.ar:article-29224 |
| institution | Universidad Nacional de Cordoba |
| language | spa |
| publishDate | 2020 |
| publisher | Centro de Investigaciones y Estudios sobre Cultura y Sociedad |
| record_format | ojs |
| spelling | oai:ojs.revistas.unc.edu.ar:article-292242020-07-08T18:31:29Z Frida Kalho: the look of cinema Frida Kahlo: la mirada del cine Scotto Di Vettimo, Delphine Cinema Creative process Psychoanalysis Trauma Cine Proceso crador Psicoanálisis Trauma The film biography titled Frida [2002] produced by the American director and director Julie Taymor, relates the life of the Mexican painter whilebeing inspired mainly by the book which devoted Hayden Herrera to him. It recounts the tumultuous life of the artist since his young student life,his accident and his passionate relationship with the muralist Diego Rivera.Numerous references to Frida Kahlo’s paintings are included in the scenography and recall the richness and complexity of her work: more than onehundred and forty paintings, of which fifty are self-portraits, which come in different themes: politics, Mexicanism, love, nature, suffering, femininity or even death.It is from the analysis of a particular scene [which galvanizes the radicality of the abortion test and offers a framework for the expression of the temporality specific to this event, which I qualify as traumatic] that this article, which stands at the crossroads of cinema and psychoanalysis, explains adecisive stage in the creative process in Frida Kahlo.Here, the examination of the dialectic between creative process and trauma, allows us to grasp, in the nascent state, the implementation of modes ofpictorial creation which sign a new temporality in his pictorial art.Beyond that, the challenge of the biopic is to succeed on the one hand in weaving, modeling, staging and images the life of this extraordinary artist;and on the other hand to allow the spectator to discover the entanglement between the creative subjectivity of the artist and his work. La biografía fílmica Frida [2002] de la directora estadounidense Julie Taymor, relata la vida de la pintora mexicana: su tormentosa vida desde su juventud estudiantil, su accidente y su relación apasionada con el muralista Diego Rivera. Numerosas referencias de los cuadros de Frida Kahlo están incluidos en la escenografía y recuerdan la riqueza y la complejidad de su obra: más de ciento cuarenta cuadros de los cuales una cincuentena autorretratos se traducen en diferentes temáticas: la política, la mexicanidad, el amor, la naturaleza, el sufrimiento, la femineidad e incluso la muerte. Es a partir del análisis de una escena en particular (que refleja lo extremo de la experiencia del aborto y ofrece un sustento a la expresión de la temporalidad propia de este evento, el cual calificaremos de traumático) que el presente artículo, situado en el entrecruzamiento entre el cine y el psicoanálisis, explicita una etapa decisiva del proceso creador de Frida Kahlo. Aquí, el examen de la dialéctica entre el proceso creador y lo traumático, permite percibir, en su fase inicial la puesta en marcha de modalidades de creación artística que marcan una temporalidad inédita en su arte pictórico. Al mismo tiempo, el desafío del biopic es alcanzar por un lado a construir, plasmar, poner en escena y en imágenes la vida de esta artista fuera de lo común; y por otro lado permitir al espectador descubrir el entrelazamiento entre la subjetividad creadora y la obra de un artista. Centro de Investigaciones y Estudios sobre Cultura y Sociedad 2020-07-02 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion application/pdf https://revistas.unc.edu.ar/index.php/eticaycine/article/view/29224 10.31056/2250.5415.v10.n1.29224 Ética y Cine Journal; Vol. 10 Núm. 1 (2020): Ética, Estética y Política; 95-101 2250-5415 2250-5660 10.31056/2250.5415.v10.n1 spa https://revistas.unc.edu.ar/index.php/eticaycine/article/view/29224/30037 Derechos de autor 2020 Ética y Cine https://creativecommons.org/licenses/by-sa/4.0/ |
| spellingShingle | Cinema Creative process Psychoanalysis Trauma Cine Proceso crador Psicoanálisis Trauma Scotto Di Vettimo, Delphine Frida Kalho: the look of cinema |
| title | Frida Kalho: the look of cinema |
| title_alt | Frida Kahlo: la mirada del cine |
| title_full | Frida Kalho: the look of cinema |
| title_fullStr | Frida Kalho: the look of cinema |
| title_full_unstemmed | Frida Kalho: the look of cinema |
| title_short | Frida Kalho: the look of cinema |
| title_sort | frida kalho the look of cinema |
| topic | Cinema Creative process Psychoanalysis Trauma Cine Proceso crador Psicoanálisis Trauma |
| topic_facet | Cinema Creative process Psychoanalysis Trauma Cine Proceso crador Psicoanálisis Trauma |
| url | https://revistas.unc.edu.ar/index.php/eticaycine/article/view/29224 |
| work_keys_str_mv | AT scottodivettimodelphine fridakalhothelookofcinema AT scottodivettimodelphine fridakahlolamiradadelcine |