Identificador: TDX:391
Autores: Nogales Cárdenas, Pedro
Resumen:
Objective: The study of the nonprofessional cinema to see its utility like primary document in history. From this departure point different questions were derived:<br/>- The cinema serves to do something more than a simple artistic history?<br/>- What type of history we can do with the cinema: social, economic, of the daily, political life, etc.?<br/>- What information we can extract of a film?<br/>- How we can obtain that data?<br/>- What utility or specific function can have the cinema in history? If it is that it has it? <br/>- Can be used the cinema in local history?<br/>- What type of cinema we can use for investigations of local history?<br/>- What information we can obtain from the different types from cinema (professional, amateur, professional relative)? <br/>- We can treat the same and obtain the same data, in the local historical investigation, to the professional cinema that the nonprofessional one? <br/>- As much nonprofessional the professional cinema as can be analyzed equal? <br/>- The use of these types of cinema as historical document is equal at all the territorial levels: the premises, regional or national?<br/>Content: In order to arrive, in the final conclusions, to give answer all to these questions the following way has been crossed in this work:<br/>1º) Began to justify the subject and to explain the basic expositions of the investigation.<br/>2º) The limitations and the problems were explained that raised the investigation and the solutions given to these problems. <br/>3º) The different types from cinema were defined that could be used in local history (professional, semi-professional, amateurs and relatives) and the passages of films (35 mm, 16 mm, 9.5 mm, 8 mm and Super 8 mm), in where their characteristics and conditioners were explained. <br/>4º) I look for the methodology of suitable analysis more for this investigation. For it a series of basic questions considered on the theoretical use of the cinema in history and expositions on the reality and the fiction in the cinema. After this first step study the different theories and methodologies from cinematographic analysis (ontológicas theories, culturalistas theories.feminism and cinema, visual anthropology, ideological theories, sociological theories and theories of contextual historical analysis). <br/>The study of these theories allowed to state the difficulties of application of these to certain types of nonprofessional cinema and I choose myself to propose an analysis methodology that, based fundamentally on the analysis of the documentary and contextual textual critic of films, allowed to analyze all type of films and a numerically ample amount. <br/>5º) To apply this methodology to the case of Reus, before had to make a history of the nonprofessional cinema of Reus, before its nonexistence. A history that included from 1897 to 1989. <br/>6º) The investigation brought to light the existence from 690 nonprofessional films or images on Reus, of which 437 were visionaron. On them the methodology was applied and the analysis of the subjects was made. <br/>Before the extension of a detailed analysis of the 7 proposed subjects that they were possible to be studied with this filmic material, it was chosen to study two cases: the historical events of Reus gathered by professional and nonprofessional films and the geographic vision that these cinematographic materials offer of the city and the surroundings (next or distant). <br/>One of the basic conclusions is the importance of these materials for the study of certain subjects, with certain conditioners and a basic premise: its urgent recovery before its definitive disappearance.
Repositori URV