Frida Kalho: the look of cinema

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The film biography titled Frida [2002] produced by the American director and director Julie Taymor, relates the life of the Mexican painter whilebeing inspired mainly by the book which devoted Hayden Herrera to him. It recounts the tumultuous life of the artist since his young student life,his accid...

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Autor principal: Scotto Di Vettimo, Delphine
Formato: Artículo revista
Lenguaje:Español
Publicado: Centro de Investigaciones y Estudios sobre Cultura y Sociedad 2020
Materias:
Cinema
Creative process
Psychoanalysis
Trauma
Cine
Proceso crador
Psicoanálisis
Acceso en línea:https://revistas.unc.edu.ar/index.php/eticaycine/article/view/29224
Aporte de:
Revistas de la UNC de Universidad Nacional de Córdoba
id I10-R10-article-29224
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spelling I10-R10-article-292242020-07-08T15:31:29Z Frida Kalho: the look of cinema Frida Kahlo: la mirada del cine Scotto Di Vettimo, Delphine Cinema Creative process Psychoanalysis Trauma Cine Proceso crador Psicoanálisis Trauma The film biography titled Frida [2002] produced by the American director and director Julie Taymor, relates the life of the Mexican painter whilebeing inspired mainly by the book which devoted Hayden Herrera to him. It recounts the tumultuous life of the artist since his young student life,his accident and his passionate relationship with the muralist Diego Rivera.Numerous references to Frida Kahlo’s paintings are included in the scenography and recall the richness and complexity of her work: more than onehundred and forty paintings, of which fifty are self-portraits, which come in different themes: politics, Mexicanism, love, nature, suffering, femininity or even death.It is from the analysis of a particular scene [which galvanizes the radicality of the abortion test and offers a framework for the expression of the temporality specific to this event, which I qualify as traumatic] that this article, which stands at the crossroads of cinema and psychoanalysis, explains adecisive stage in the creative process in Frida Kahlo.Here, the examination of the dialectic between creative process and trauma, allows us to grasp, in the nascent state, the implementation of modes ofpictorial creation which sign a new temporality in his pictorial art.Beyond that, the challenge of the biopic is to succeed on the one hand in weaving, modeling, staging and images the life of this extraordinary artist;and on the other hand to allow the spectator to discover the entanglement between the creative subjectivity of the artist and his work. La biografía fílmica Frida [2002] de la directora estadounidense Julie Taymor, relata la vida de la pintora mexicana: su tormentosa vida desde su juventud estudiantil, su accidente y su relación apasionada con el muralista Diego Rivera. Numerosas referencias de los cuadros de Frida Kahlo están incluidos en la escenografía y recuerdan la riqueza y la complejidad de su obra: más de ciento cuarenta cuadros de los cuales una cincuentena autorretratos se traducen en diferentes temáticas: la política, la mexicanidad, el amor, la naturaleza, el sufrimiento, la femineidad e incluso la muerte. Es a partir del análisis de una escena en particular (que refleja lo extremo de la experiencia del aborto y ofrece un sustento a la expresión de la temporalidad propia de este evento, el cual calificaremos de traumático) que el presente artículo, situado en el entrecruzamiento entre el cine y el psicoanálisis, explicita una etapa decisiva del proceso creador de Frida Kahlo. Aquí, el examen de la dialéctica entre el proceso creador y lo traumático, permite percibir, en su fase inicial la puesta en marcha de modalidades de creación artística que marcan una temporalidad inédita en su arte pictórico. Al mismo tiempo, el desafío del biopic es alcanzar por un lado a construir, plasmar, poner en escena y en imágenes la vida de esta artista fuera de lo común; y por otro lado permitir al espectador descubrir el entrelazamiento entre la subjetividad creadora y la obra de un artista. Centro de Investigaciones y Estudios sobre Cultura y Sociedad 2020-07-02 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion application/pdf https://revistas.unc.edu.ar/index.php/eticaycine/article/view/29224 Ética y Cine Journal; Vol. 10 Núm. 1 (2020): Ética, Estética y Política; 95-101 2250-5415 2250-5660 10.31056/2250.5415.v10.n1 spa https://revistas.unc.edu.ar/index.php/eticaycine/article/view/29224/30037 Derechos de autor 2020 Ética y Cine https://creativecommons.org/licenses/by-sa/4.0/
institution Universidad Nacional de Córdoba
institution_str I-10
repository_str R-10
container_title_str Revistas de la UNC
language Español
format Artículo revista
topic Cinema
Creative process
Psychoanalysis
Trauma
Cine
Proceso crador
Psicoanálisis
Trauma
spellingShingle Cinema
Creative process
Psychoanalysis
Trauma
Cine
Proceso crador
Psicoanálisis
Trauma
Scotto Di Vettimo, Delphine
Frida Kalho: the look of cinema
topic_facet Cinema
Creative process
Psychoanalysis
Trauma
Cine
Proceso crador
Psicoanálisis
Trauma
author Scotto Di Vettimo, Delphine
author_facet Scotto Di Vettimo, Delphine
author_sort Scotto Di Vettimo, Delphine
title Frida Kalho: the look of cinema
title_short Frida Kalho: the look of cinema
title_full Frida Kalho: the look of cinema
title_fullStr Frida Kalho: the look of cinema
title_full_unstemmed Frida Kalho: the look of cinema
title_sort frida kalho: the look of cinema
description The film biography titled Frida [2002] produced by the American director and director Julie Taymor, relates the life of the Mexican painter whilebeing inspired mainly by the book which devoted Hayden Herrera to him. It recounts the tumultuous life of the artist since his young student life,his accident and his passionate relationship with the muralist Diego Rivera.Numerous references to Frida Kahlo’s paintings are included in the scenography and recall the richness and complexity of her work: more than onehundred and forty paintings, of which fifty are self-portraits, which come in different themes: politics, Mexicanism, love, nature, suffering, femininity or even death.It is from the analysis of a particular scene [which galvanizes the radicality of the abortion test and offers a framework for the expression of the temporality specific to this event, which I qualify as traumatic] that this article, which stands at the crossroads of cinema and psychoanalysis, explains adecisive stage in the creative process in Frida Kahlo.Here, the examination of the dialectic between creative process and trauma, allows us to grasp, in the nascent state, the implementation of modes ofpictorial creation which sign a new temporality in his pictorial art.Beyond that, the challenge of the biopic is to succeed on the one hand in weaving, modeling, staging and images the life of this extraordinary artist;and on the other hand to allow the spectator to discover the entanglement between the creative subjectivity of the artist and his work.
publisher Centro de Investigaciones y Estudios sobre Cultura y Sociedad
publishDate 2020
url https://revistas.unc.edu.ar/index.php/eticaycine/article/view/29224
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first_indexed 2022-08-20T01:04:50Z
last_indexed 2022-08-20T01:04:50Z
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