Cartografías cinematográficas de cali (1971-1995). Modernidad y espacio en el cine de carlos mayolo y luis ospina

Resumen

In addition to the documentary value of film material, cinema, as a product of modernity, is a relevant and valid instrument for the analysis of the city, its architecture and the society that produces them. The films are a means with great capacity to express the intersection between space and time and also contribute a significant context to the spatial phenomenon of the architecture and the city. Thanks to this ability they can adequately capture the experience of urban modernity. On the other hand, cinema marks a turning point in the way space was depicted from the Renaissance to breaking the boundaries between the arts in response to the need for a new description of space. This approach blurs the boundary between the "urban landscape" and the "mediascape" and opens a new field to study the relationship between movement, image and city, offering different points of view in the observation of processes that affect the urban. The present work uses as an analysis document the audiovisual work of Carlos Mayolo (1945-2007) and Luis Ospina (1949) who during two decades were occupied to observe and represent the city of Cali (Colombia) in about twenty films. Viewed in retrospect his films are documents of the history of the city decanted through the eyes of two artists immersed in a space that underwent important processes of change due to the urban modernizations of the middle of century XX. The gradual transformation of the city and its consequences in the architecture would mark a tension in the point of view of the two authors. The duo of filmmakers, as privileged witnesses, recorded this by maintaining a pulse between progress and tradition, between admiration for European and American cinema, the need for cultural modernization and resistance to the double standards of progress and institutions. In this path of two decades, and without considering it, they have developed a process of territorialization by appropriating places in the city and uploading them of identity from the cinematographic device. Therefore, and for the purpose of this work, the films are considered as an interface, since the film is communicative surface and border between two systems. Their spatial qualities are increased to the extent that we can, through research, "navigate" and explore their places just as in the virtual space of a video game. In the case of the films treated, this interaction environment provides a great deal of information thanks to the varied stories that audiovisuals suggest as multiple urban biographies. The metaphor of space and information that embodies an interface is articulated in the different layers of the film map of Cali and provides a navigation chart that will allow you to experience the city at different scales and in different space-time dimensions. Consequently, the presentation of the observed is configured as cartography from two directions: a figurative one, which serves to locate and orient us in that projected Cali and another literal that allows us to analyze it morphologically and topologically. As a conceptual framework have been chosen modernity and space in both categories cover physical and cultural aspects of how Mayolo and Ospina included and appropriated their city through film. Modernity offers an approach to context while space does to the setting.