{"id":58255,"date":"2023-05-07T22:52:32","date_gmt":"2023-05-07T22:52:32","guid":{"rendered":"https:\/\/7siff.com\/?p=58255"},"modified":"2023-05-14T19:08:52","modified_gmt":"2023-05-14T19:08:52","slug":"cuestionar-la-convencion-desde-la-provocacion-del-lenguaje-cinematografico","status":"publish","type":"post","link":"https:\/\/7siff.com\/en\/cuestionar-la-convencion-desde-la-provocacion-del-lenguaje-cinematografico\/","title":{"rendered":"Questioning convention through the provocation of cinematographic language."},"content":{"rendered":"

A close up on \"Foquito\" by Juli\u00e1n Escandarani.
By Nicol\u00e1s Sandrini.<\/em><\/p>\r\n\r\n\r\n\r\n

\"Foquito\" is a trial and error essay on things that are supposed to be insignificant in everyday life. In a first reading and in a reverse sense, trying to commit suicide is perhaps as dangerous as changing a light bulb. But the concept sheds more light on the matter.<\/p>\r\n\r\n\r\n\r\n

Expectation and betrayal are pillars in a narrative game that summons the spectator as an active witness, assuming a place that includes him in the story as a third character who observes the sequence and anticipates the expected outcome.<\/p>\r\n\r\n\r\n\r\n

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With a remarkable setting and staging, the device appeals to the cinephile memory and revisits images constructed and legitimized with the verisimilitude of the big screen, on the audiovisual treatment of the act of suicide.<\/p>\r\n\r\n\r\n\r\n

The woman bursts in from off-camera and predicts another possible ending, but the cinematographic power asserts its indeclinable will and the individual, who has no face and has no history, is the victim of the film. Meanwhile, we, the spectators, certify that the ending is as fatal as we were promised when we paid for our ticket, between sodas and popcorn from this side of the fourth wall.<\/p>\r\n\r\n\r\n\r\n

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\"Foquito\" addresses, with lights and shadows, a call for attention to the conventions of the audiovisual cultural apparatus that the hegemonic cinematographic discourse installed with greater efficiency. The challenge points the way to the formation of new audiences that question the established, in order to transcend towards the creation of a new language of images.<\/p>\r\n\r\n\r\n\r\n

2023 Grand Prix winner.<\/strong><\/p>\r\n\r\n\r\n\r\n

You can submit your movie by<\/strong> July 23rd. Don't miss it.<\/strong><\/p>\r\n\r\n\r\n\r\n

<\/figure>\r\n\r\n\r\n\r\n
    \r\n
  • Julian Escandarani<\/strong> Director<\/li>\r\n
  • Ignacio Pozzi<\/strong> Guion<\/li>\r\n
  • Lucia Corral<\/strong> Guion<\/li>\r\n
  • Julian Escandarani<\/strong> Productor<\/li>\r\n
  • Ignacio Pozzi<\/strong> Productor<\/li>\r\n
  • Lucia Corral<\/strong> Productora<\/li>\r\n
  • Lucia Corral<\/strong> Elenco<\/li>\r\n
  • Martin Eguibar<\/strong> DF<\/li>\r\n
  • Juan Mendoza<\/strong> Asist DF<\/li>\r\n
  • Nicole Ernst<\/strong> Gaffer<\/li>\r\n
  • Grisel Marino<\/strong> Directora de arte<\/li>\r\n
  • Ivana Boveda<\/strong> Make Up<\/li>\r\n
  • Alan Senderowitsch<\/strong> M\u00fasica<\/li>\r\n
  • Guillermo Salvucci<\/strong> Sonido<\/li>\r\n
  • Facundo Zacsek<\/strong> Arte<\/li>\r\n
  • Maria Zacsek<\/strong> Arte<\/li>\r\n
  • Delfina Del Carril<\/strong> Arte<\/li>\r\n
  • Guillermo Guidi<\/strong> Arte<\/li>\r\n
  • Julian Escandarani<\/strong> Editor<\/li>\r\n
  • Camila Colino<\/strong> Vestuario<\/li>\r\n
  • Rosalinda Bello<\/strong> Vestuario<\/li>\r\n<\/ul>\r\n\r\n\r\n\r\n
    \"\"<\/figure>","protected":false},"excerpt":{"rendered":"

    by Nicol\u00e1s Sandrini<\/p>\n

    \"Foquito\" is a trial and error essay on things that are supposed to be insignificant in everyday life. In a first reading and in a reverse sense, trying to commit suicide is perhaps as dangerous as changing a light bulb. But the concept sheds more light on the matter.<\/p>\n

    Expectation and betrayal are pillars in a narrative game that summons the spectator as an active witness, assuming a place that includes him in the story as a third character who observes the sequence and anticipates the expected outcome.<\/p>","protected":false},"author":2,"featured_media":57865,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"om_disable_all_campaigns":false,"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"ngg_post_thumbnail":0,"footnotes":""},"categories":[520],"tags":[],"class_list":["post-58255","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-resenas","category-520","description-off"],"aioseo_notices":[],"_links":{"self":[{"href":"https:\/\/7siff.com\/en\/wp-json\/wp\/v2\/posts\/58255"}],"collection":[{"href":"https:\/\/7siff.com\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/7siff.com\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/7siff.com\/en\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/7siff.com\/en\/wp-json\/wp\/v2\/comments?post=58255"}],"version-history":[{"count":5,"href":"https:\/\/7siff.com\/en\/wp-json\/wp\/v2\/posts\/58255\/revisions"}],"predecessor-version":[{"id":58275,"href":"https:\/\/7siff.com\/en\/wp-json\/wp\/v2\/posts\/58255\/revisions\/58275"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/7siff.com\/en\/wp-json\/wp\/v2\/media\/57865"}],"wp:attachment":[{"href":"https:\/\/7siff.com\/en\/wp-json\/wp\/v2\/media?parent=58255"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/7siff.com\/en\/wp-json\/wp\/v2\/categories?post=58255"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/7siff.com\/en\/wp-json\/wp\/v2\/tags?post=58255"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}