| dc.description.abstract | The film project Mauricio en Discordia has three units: the folder of production, three individual
essays per area, and the short film as the final product. The production folder consists of several
sections in which it is intended to introduce certain aspects related to the form of the short film.
The different essays correspond to the areas of direction, sound, and editing: “Narrative treatment
and psychological patterns in the Mauricio en discordia project”, which is studied through the texts
Psychoanalysis and Cinema: The imaginary signifier (1977), by Christian Metz; The narration in
the fiction cinema (1996), by David Bordwell; The Cathartic Phenomenon and Classic Film
Narrative (2004), by Jessica Zepeda Cruz; Psychology of the masses (1921), by Sigmund Freud;
Psychological creation of characters for film and television (2005), by Elena Galán Fajardo; The
character as psychological essence (2016), by Andrea Lozano Silva; Emotional dependence
according to Jorge's theory Castello. A case study (2016), by Deborah Alalú De Los Rios; and the
American Psychiatric Association Book (DSM-5) (2013). The essay entitled "Sound proposal:
management of noise and silence for the film project Mauricio en discordia" is based on the
following texts: Sound: Music, Cinema, Literature (1999), by Michel Chion; The sound, the music
and the noise (2001), by Federico Miyara; and Sound in the cinema: Image and sound: a marriage
of convenience (2007), by Laurent Jullier; Audiovision: An Introduction to a Joint Analysis of
Image and Sound (1993), by Michel Chion; “Silence: the forgotten element in the audiovisual
expression” (2010), by Daniel Torras; and “Silence belongs to sound” (2016), by Carlota Frisón
Fernández. The third theoretical essay, “Creation of suspense, tonal montage and metrical montage
for the Mauricio en Discordia project” is supported by the texts A classic example of
cinematographic suspense (2009), by Lucia Gabriela Landeros; Construction of the scene in
suspense cinema (2018), by Valentina Durán Paredes; The cinematographic suspense: Montage
and temporal organization (2019), Josep Prosper Rives; Cinematographic initiation (1972), by
Amalia Gallardo; Film montage theory (1991), by Vicente Sánchez-Biosca; At the moment of
blinking (2003), by Walter Murch; The cinematographic montage: Artistic Tool (2015), by
Gabriela Garcés Espinoza; Serguei Eisenstein: Assembly of attractions or attractions for assembly
(2016), Luís Fernando Morales Morante. The present theoretical study, which is developed through the research-creation method (Hernández Hernández, 2006, 13, 19 and 29; 2015; Carreño,
2014), has obtained as a central finding that the realization of a film project precisely that the
investigation of its fundamental concepts responds to the demands that are presenting in the
practical field, depending on the development of the cinematographic practice. It is based on a
solid theoretical base that enriches the discourse that is intended to be built. | |
