The representation of Córdoba ́s urban space in contemporary TV fictional series
Since the Ley de Servicios de Comunicación Audiovisual (Law 26.522) was implemented a group of series, miniseries and telefilms started to emerge and so new scenery appear on Córdoba television screens: the city itself, previously never seen in that way. In that renewed panorama some productions hav...
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| Formato: | Artículo revista |
| Lenguaje: | Español |
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Departamento de Cine y TV, Facultad de Artes, Universidad Nacional de Córdoba
2019
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| Acceso en línea: | https://revistas.unc.edu.ar/index.php/toma1/article/view/26201 |
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I10-R10-article-262012020-11-01T03:51:26Z The representation of Córdoba ́s urban space in contemporary TV fictional series La representación del espacio urbano de la ciudad de Córdoba en la ficción seriada televisiva contemporánea Trioni Bellone, Carlos Ignacio geographical space dramatic space staging frame editing espacio geográfico espacio dramático puesta en escena puesta en cámara puesta en serie Since the Ley de Servicios de Comunicación Audiovisual (Law 26.522) was implemented a group of series, miniseries and telefilms started to emerge and so new scenery appear on Córdoba television screens: the city itself, previously never seen in that way. In that renewed panorama some productions have particular forms of space representation. In Incomunicados (2018), the verbal references to the city, its streets and its constructions prevail, it's a named space. La Purga (2011) presents a fictitious but possible neighborhood, created with fragments of different sectors of the city, it’s a reconstructed space. And La chica que limpia (2017) modifies the use and functionalities of certain iconic buildings of the city according to its narrative needs, it's a resignified space. That geographical space is revealed by certain resources of the audiovisual language. While La chica que limpia stands out the continuity through the use of the sequence plane, the technique of the creative geography of Kuleshov in La Purga or the jump cut in Incomunicados reveal a significant idea of discontinuity. Con la implementación de la Ley de Servicios de Comunicación Audiovisual (Ley 26.522) comenzaron a surgir miniseries, unitarios y telefilmes a partir de las cuales un nuevo paisaje empezó a hacerse presente en las pantallas televisivas cordobesas: el de la propia ciudad, pocas veces antes visto de esa manera. Dentro de ese renovado panorama, surgieron algunas producciones que sugieren particulares formas de representación del espacio. En Incomunicados (2018) prevalecen las referencias verbales a la ciudad, sus calles y/o construcciones, lo que puede denominarse como espacio nombrado. La Purga (2011) presenta un barrio ficticio, pero posible, creado a partir de fragmentos de diferentes sectores de la ciudad, un espacio reconstruido. Y La chica que limpia (2017) propone modificar las funcionalidades de determinados edificios característicos de la ciudad según sus necesidades narrativas, o sea un espacio resignificado. A su vez, ese espacio geográfico se revela por medio de determinados recursos del lenguaje audiovisual. Mientras que en La chica que limpia sobresale la continuidad a partir del uso del plano secuencia, la técnica de la geografía creadora de Kuleshov en La Purga o del jump cut en Incomunicados ponen de manifiesto una idea de discontinuidad muy notoria y significativa. Departamento de Cine y TV, Facultad de Artes, Universidad Nacional de Córdoba 2019-11-01 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion application/pdf text/html https://revistas.unc.edu.ar/index.php/toma1/article/view/26201 Toma Uno; No. 7 (2019): Audiovisual production and seriality; 157-171 TOMA UNO; Núm. 7 (2019): Producción audiovisual y serialidad; 157-171 2250-4524 2313-9692 10.55442/tomauno.n7.2019 spa https://revistas.unc.edu.ar/index.php/toma1/article/view/26201/29498 https://revistas.unc.edu.ar/index.php/toma1/article/view/26201/28017 http://creativecommons.org/licenses/by-nc-nd/2.5/ar/ |
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Universidad Nacional de Córdoba |
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I-10 |
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R-10 |
| container_title_str |
Revistas de la UNC |
| language |
Español |
| format |
Artículo revista |
| topic |
geographical space dramatic space staging frame editing espacio geográfico espacio dramático puesta en escena puesta en cámara puesta en serie |
| spellingShingle |
geographical space dramatic space staging frame editing espacio geográfico espacio dramático puesta en escena puesta en cámara puesta en serie Trioni Bellone, Carlos Ignacio The representation of Córdoba ́s urban space in contemporary TV fictional series |
| topic_facet |
geographical space dramatic space staging frame editing espacio geográfico espacio dramático puesta en escena puesta en cámara puesta en serie |
| author |
Trioni Bellone, Carlos Ignacio |
| author_facet |
Trioni Bellone, Carlos Ignacio |
| author_sort |
Trioni Bellone, Carlos Ignacio |
| title |
The representation of Córdoba ́s urban space in contemporary TV fictional series |
| title_short |
The representation of Córdoba ́s urban space in contemporary TV fictional series |
| title_full |
The representation of Córdoba ́s urban space in contemporary TV fictional series |
| title_fullStr |
The representation of Córdoba ́s urban space in contemporary TV fictional series |
| title_full_unstemmed |
The representation of Córdoba ́s urban space in contemporary TV fictional series |
| title_sort |
representation of córdoba ́s urban space in contemporary tv fictional series |
| description |
Since the Ley de Servicios de Comunicación Audiovisual (Law 26.522) was implemented a group of series, miniseries and telefilms started to emerge and so new scenery appear on Córdoba television screens: the city itself, previously never seen in that way.
In that renewed panorama some productions have particular forms of space representation. In Incomunicados (2018), the verbal references to the city, its streets and its constructions prevail, it's a named space. La Purga (2011) presents a fictitious but possible neighborhood, created with fragments of different sectors of the city, it’s a reconstructed space. And La chica que limpia (2017) modifies the use and functionalities of certain iconic buildings of the city according to its narrative needs, it's a resignified space.
That geographical space is revealed by certain resources of the audiovisual language. While La chica que limpia stands out the continuity through the use of the sequence plane, the technique of the creative geography of Kuleshov in La Purga or the jump cut in Incomunicados reveal a significant idea of discontinuity. |
| publisher |
Departamento de Cine y TV, Facultad de Artes, Universidad Nacional de Córdoba |
| publishDate |
2019 |
| url |
https://revistas.unc.edu.ar/index.php/toma1/article/view/26201 |
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