Cine y pintura. El caso de Goya en Burdeos, de Carlos SauraThe interaction between cinema and painting has evolved since the beginning of the 20th century. Both languages have used the inherent elements of each over the last 130 years: while cinema has turned to painting in search of iconography, characteristics of a historical era or to copy a light and color scheme that creates an atmosphere to sublimate an image, painting has copied new expressive ways derived from “the seventh art”. After analysing the evolution of this dialogue, this text formulates a classification of the correspondences between cinema and painting, and resorts to the iconographic and iconological analysis method of Erwin Panofsky (1892-1968), which takes into consideration the sociocultural context of the author and his/her work. Likewise, and as a practical application of the above, the dialogue between the work of Francisco de Goya and the filmmaker Carlos Saura is analyzed, through the film "Goya in Bordeaux" (1999), obtaining results that exemplify this classification and allow students to dissect and generate new artistic approaches.
Keywords:
cinema; painting; composition; iconography; semiology