{"id":13218,"date":"2011-09-20T09:15:20","date_gmt":"2011-09-20T09:15:20","guid":{"rendered":"http:\/\/veredes.es\/blog\/?p=13218"},"modified":"2018-04-24T09:09:40","modified_gmt":"2018-04-24T07:09:40","slug":"rene-clair-arquitectos-y-cineastas-jorge-gorostiza","status":"publish","type":"post","link":"https:\/\/veredes.es\/blog\/rene-clair-arquitectos-y-cineastas-jorge-gorostiza\/","title":{"rendered":"Ren\u00e9 Clair. Arquitectos y Cineastas | Jorge GorostizaRen\u00e9 Clair. Arquitectos e Cineastas | Jorge GorostizaRen\u00e9 Clair. Architects and Moviimakers | Jorge Gorostiza"},"content":{"rendered":"

\"\"<\/a>
Ren\u00e9 Clair | cinematismo.com<\/span><\/figcaption><\/figure><\/p>\n

Ren\u00e9 Clair<\/a> es un director franc\u00e9s en su momento aclamado y admirado, llegando a ser miembro de la Academia Francesa, pero que hoy ha sido pr\u00e1cticamente olvidado, lo que extrapolado a la actualidad plantea cu\u00e1ntos famosos cineastas y escritores actuales se recordar\u00e1n dentro de unos a\u00f1os, por culpa de estar sometidos a la tiran\u00eda de la fama inmediata.<\/p>\n

Clair en sus pel\u00edculas supo emplear el espacio cinematogr\u00e1fico de una forma espectacular, sobre todo, en t\u00edtulos como Bajo los techos de Par\u00eds<\/em> (Sous les toits de Paris<\/a><\/em>, 1930), El mill\u00f3n<\/em> (Le Million<\/a><\/em>, 1931) que comienzan con dos fant\u00e1sticos movimientos de c\u00e1mara sobre Par\u00eds y Viva la libertad<\/em> (\u00c0 nous la libert\u00e9<\/a>!<\/em>, 1931) en la aparece\u00a0una moderna f\u00e1brica que ha sido reproducida en libros de arquitectura, las tres con decorados creados por el genial Lazare Meerson.<\/p>\n

Ayer leyendo\u00a0textos suyos encontr\u00e9 uno sobre c\u00f3mo se hace una pel\u00edcula que comienza as\u00ed:<\/p>\n

\n

\u00abPara que os hag\u00e1is una idea de las condiciones en que se concibe y ejecuta una obra cinematogr\u00e1fica, en t\u00e9rminos generales puede ser comparada con la construcci\u00f3n de casas. Es muy raro que un arquitecto construya una casa o cualquier otra cosa por la satisfacci\u00f3n \u00fanica de su impulso creativo. Como un cineasta, un arquitecto debe tener en cuenta los gustos de sus clientes, no trabaja solo, sino con numerosos colaboradores, cuya ayuda le es indispensable, y est\u00e1 limitada por los medios materiales a su disposici\u00f3n. Todo esto hace imposible que un arquitecto, como un cineasta, eluda las reglas de una profesi\u00f3n que est\u00e1 relacionada tanto con el arte como la industria; cada parte de esta doble naturaleza tiene sus propias caracter\u00edsticas, que no pueden reducirse a un denominador com\u00fan<\/em>\u00bb.<\/p>\n<\/blockquote>\n

En ese mismo texto propone que los t\u00e9cnicos que se encargan de crear los espacios cinematogr\u00e1ficos, en vez de denominarse \u00abdecoradores\u00bb como se llamaban en Francia en aquella \u00e9poca, se denominen \u00abarquitectos\u00bb como era habitual en la Alemania de entonces, algo que no tuvo repercusi\u00f3n.<\/p>\n

Jorge Gorostiza, arquitecto. Autor del blog<\/span> Arquitectura+Cine+Ciudad<\/span><\/em>
\nSanta Cruz de Tenerife, abril 2011<\/p>\n

\"\"<\/a>
Ren\u00e9 Clair | cinematismo.com<\/span><\/figcaption><\/figure><\/p>\n

Ren\u00e9 Clair<\/a>\u00a0is a French director in his moment acclaimed and admired, arriving to be member of the French Academy, but that today has been practically forgotten, what extrapolated to the actuality poses how many famous cineastas and current writers will remember\u00a0 inside some years, by fault to be subjected to the tyranny of the immediate fame.<\/p>\n

Clair In his films knew to employ the cinematographic space of a spectacular form, especially, in titles as Sous les toits de Paris<\/a><\/em>, 1930, Le Million<\/a><\/em>, 1931,\u00a0that begin with two fantastic movements of camera on Paris and\u00a0\u00c0 nous la libert\u00e9<\/a>!<\/em>, 1931, in it appears it a modern factory that has been reproduced in books of architecture, the three with decorated created by the genial Lazare Meerson.<\/p>\n

Yesterday reading his texts I found one on how there is done a movie that begins this way:<\/p>\n

\n

\u00abIn order that you do to yourselves an idea of the conditions in which one conceives and executes a films, in general terms it can be compared with the construction of houses. It is very strange that an architect constructs a house or any other thing for the only satisfaction of his creative impulse. A filmmaker, an architect must bear in mind the tastes of his clients, does not work only, but with numerous collaborators, whose help him is indispensable, and is limited by the material means to his disposition. All that makes impossible that an architect, as a filmmaker, eludes the rules of a profession that is related so much to the art as the industry; every part of this double nature has his own characteristics, which cannot diminish to a common denominator<\/em>\u00bb.<\/p>\n<\/blockquote>\n

In the same text he proposes that the technical personnel who take charge creating the cinematographic spaces, instead of being named \u00abinterior decorators\u00bb since they were calling in France in that epoch, there is named \u00abarchitects\u00bb since habitual age in the Germany of then, something that did not have repercussion.<\/p>\n

Jorge Gorostiza, architect. Author of the blog Arquitectura+Cine+Ciudad<\/em><\/span><\/p>\n

Santa Cruz de Tenerife, april 2011<\/p>\n

<\/p>\n

Ren\u00e9 Clair\u00a0 Academia Francesa,\u00a0 Clair\u00a0 Baixo os teitos de Par\u00eds<\/em> (Sous lles toits de Paris<\/em>, 1930), O mill\u00f3n<\/em> (Le Millio<\/em>n, 1931) que comezan con dous fant\u00e1sticos movementos de c\u00e1mara sobre Par\u00eds e Viva a liberdade<\/em> (\u00c0 nous a libert\u00e9<\/em>!, 1931)<\/p>\n

\"\"<\/a>
Ren\u00e9 Clair | cinematismo.com<\/span><\/figcaption><\/figure>\n

Ren\u00e9 Clair<\/a>\u00a0\u00e9 un director franc\u00e9s no seu momento aclamado e admirado, chegando a ser membro da Academia Francesa, pero que hoxe foi practicamente esquecido, o que extrapolado \u00e1 actualidade exp\u00f3n cantos famosos cineastas e escritores actuais lembraranse dentro duns anos, por culpa de estar sometidos \u00e1 tiran\u00eda da fama inmediata.<\/p>\n

Clair\u00a0nas s\u00faas pel\u00edculas soubo empregar o espazo cinematogr\u00e1fico dunha forma espectacular, sobre todo, en t\u00edtulos como Baixo os teitos de Par\u00eds<\/em> (Sous les toits de Paris<\/a><\/em>, 1930), O mill\u00f3n<\/em> (Le Million<\/a><\/em>, 1931) que comenzan con dous fant\u00e1sticos movementos de c\u00e1mara sobre Par\u00eds e Viva a libertade<\/em> (\u00c0 nous la libert\u00e9<\/a>!<\/em>, 1931) nela aparece unha moderna f\u00e1brica que foi reproducida en libros de arquitectura, o tres con decorados creados polo xenial Lazare Meerson.<\/p>\n

Onte lendo textos seus encontrei un sobre como se fai unha pel\u00edcula que comeza as\u00ed:<\/p>\n

\n

\u00abPara que vos fagades unha idea das condici\u00f3ns en que se concibe e executa unha obra cinematogr\u00e1fica, en termos xerais pode ser comparada coa construci\u00f3n de casas. \u00c9 moi raro que un arquitecto constr\u00faa unha casa ou calquera outra cousa pola satisfacci\u00f3n \u00fanica do seu impulso creativo. Como un cineasta, un arquitecto debe ter en conta os gustos dos seus clientes, non traballa s\u00f3, sen\u00f3n con numerosos colaboradores, cuxa axuda lle \u00e9 indispensable, e est\u00e1 limitada polos medios materiais \u00e1 s\u00faa disposici\u00f3n. Todo isto fai imposible que un arquitecto, como un cineasta, eluda as regras dunha profesi\u00f3n que est\u00e1 relacionada tanto coa arte como a industria; cada parte desta dobre natureza ten as s\u00faas propias caracter\u00edsticas, que non poden reducirse a un denominador com\u00fan<\/em>\u00bb.<\/p>\n<\/blockquote>\n

Nese mesmo texto prop\u00f3n que os t\u00e9cnicos que se encargan de crear os espazos cinematogr\u00e1ficos, en vez de denominarse \u00abdecoradores\u00bb como se chamaban en Francia naquela \u00e9poca, se denominen \u00abarquitectos\u00bb como era habitual na Alema\u00f1a de ent\u00f3n, algo que non tivo repercusi\u00f3n.<\/p>\n

Jorge Gorostiza, arquitecto. Autor do blogue Arquitectura+Cine+Ciudad<\/em><\/span><\/p>\n

Santa Cruz de Tenerife, abril 2011<\/p>\n

<\/p>\n","protected":false},"excerpt":{"rendered":"

Ren\u00e9 Clair es un director franc\u00e9s en su momento aclamado y admirado, llegando a ser miembro de la Academia Francesa, pero que hoy ha sido pr\u00e1cticamente olvidado, lo que extrapolado a la actualidad plantea cu\u00e1ntos famosos cineastas y escritores actuales se recordar\u00e1n dentro de unos a\u00f1os, por culpa de estar sometidos a la tiran\u00eda de […]<\/p>\n","protected":false},"author":34,"featured_media":41661,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[3,1460,5951],"tags":[11184,12448,12471,4396,318,6674,10247,10246,602,668,1593,10248,989,4399,10250,10249,10254],"class_list":["post-13218","post","type-post","status-publish","format-standard","has-post-thumbnail","category-capturas","category-cine","category-slider-principal","tag-arquitectos-y-cineastas","tag-arquitectura","tag-cine","tag-cineastas","tag-ciudad","tag-decorado","tag-erik-satie","tag-espacio-cinematografico","tag-francia","tag-historia","tag-jorge-gorostiza","tag-lazare-meerson","tag-paris","tag-rene-clair","tag-rene-despres","tag-rene-lucien-chomette","tag-viola-dana"],"yoast_head":"\nRen\u00e9 Clair. 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