Espacio y tiempo en el cine moderno: algunos procedimientos de puesta en escena

Abstract

The theories that consider editing the basis offilm narrative, tend to disregard that shot, the narrative unit which preserves the unities oftime and space, has also been a formal element offilm narrativefrom the origins ofcinema. Modern cinema, from the writings ofAndré Bazin and the experiences ofRenoir, Welles, and Ophüls, reinstates the sequence shot as a morefaithful representation ofspace and time in reality, as well as a stylistic possibility which eschews the rhetorical procedures ofediting. Another ofthe stylistic procedures of contemporary cinema is the systematic use of 'off-screen space ' with a narrative intention. Both spaces —the seen and the unseen— interact either to withhold information temporarily, to créate a specific tensión, or to elide the obvious or expectedresponse. Both procedures, the 'off-screen shot 'sequence and the use ofspace in "off" have beenfavoured innovatively by some ofthe most prominent contemporary producers.