{"id":2013,"date":"2015-04-06T08:20:05","date_gmt":"2015-04-06T06:20:05","guid":{"rendered":"https:\/\/www.cpaonline.es\/blog\/?p=2013"},"modified":"2021-04-12T10:42:36","modified_gmt":"2021-04-12T08:42:36","slug":"el-cine-documental","status":"publish","type":"post","link":"https:\/\/www.cpaonline.es\/blog\/cine-y-tv\/el-cine-documental\/","title":{"rendered":"El cine documental"},"content":{"rendered":"<p style=\"text-align: justify;\">La verdad, o el registro de la misma, ha sido una obsesi\u00f3n por parte de algunos <strong><span style=\"text-decoration: underline;\">directores<\/span><\/strong> a lo largo de la historia del cine.<!--more-->Directores como <strong>Robert Flaherty, Richard Leacock, Chris Marker, Errol Morris, Michael Moore o Fred Wiseman<\/strong> han buscado esa realidad, plasm\u00e1ndola en sus pel\u00edculas.<\/p>\n<p style=\"text-align: justify;\">El <strong>cine documental<\/strong> tambi\u00e9n es conocido como <strong>cine de no ficci\u00f3n<\/strong>, u otros calificativos, seg\u00fan \u00e9pocas, lugares e intenciones, <strong>Kino-Pradva<\/strong>, <strong>Cin\u00e9ma V\u00e9rit\u00e9<\/strong> o <strong>Direct Cinema<\/strong>. Las entrevistas, planos de larga duraci\u00f3n, localizaciones y luz naturales, voces en off, c\u00e1mara est\u00e1tica o material de archivo son algunos de los elementos narrativos que caracterizan al cine documental.<\/p>\n<div id=\"attachment_2015\" style=\"width: 310px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/www.cpaonline.es\/blog\/wp-content\/uploads\/2015\/04\/Fotograma-del-documental-Moana-de-Robert-Flaherty.jpg\" data-rel=\"lightbox-image-0\" data-rl_title=\"\" data-rl_caption=\"\" title=\"\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-2015\" class=\"size-medium wp-image-2015\" src=\"https:\/\/www.cpaonline.es\/blog\/wp-content\/uploads\/2015\/04\/Fotograma-del-documental-Moana-de-Robert-Flaherty-300x238.jpg\" alt=\"Fotograma del documental Moana, de Robert Flaherty\" width=\"300\" height=\"238\" srcset=\"https:\/\/www.cpaonline.es\/blog\/wp-content\/uploads\/2015\/04\/Fotograma-del-documental-Moana-de-Robert-Flaherty-300x238.jpg 300w, https:\/\/www.cpaonline.es\/blog\/wp-content\/uploads\/2015\/04\/Fotograma-del-documental-Moana-de-Robert-Flaherty.jpg 417w\" sizes=\"auto, (max-width: 300px) 100vw, 300px\" \/><\/a><p id=\"caption-attachment-2015\" class=\"wp-caption-text\">Fotograma del documental <strong><em>Moana<\/em><\/strong>, de <strong>Robert Flaherty<\/strong><\/p><\/div>\n<p style=\"text-align: justify;\">El t\u00e9rmino documental fue introducido por <strong>John Grierson<\/strong>, impulsor del cine brit\u00e1nico documental en la d\u00e9cada de los 30, en referencia al filme <strong><em>Moana<\/em><\/strong> (1926), dirigido por <strong>Robert Flaherty<\/strong>, considerado por muchos padre del cine documental, gracias a la pel\u00edcula <strong><em>Nanook, el esquimal<\/em><\/strong> (1922).<\/p>\n<p style=\"text-align: justify;\">Pese al car\u00e1cter cercano a la realidad, o la b\u00fasqueda de la misma, el cine documental tambi\u00e9n tiene un punto de vista personal y un uso del lenguaje audiovisual para determinados objetivos. De ah\u00ed que, el mismo <strong>Grierson<\/strong> considerara al cine documental como \u00ab<em>tratamiento creativo de la realidad<\/em>\u00ab. Dentro del cine documental tambi\u00e9n podemos encontrar diferentes movimientos, corrientes o fines, pudiendo hablar de un cine documental educativo, propagand\u00edstico, subjetivo, objetivo, l\u00edrico o experimental.<\/p>\n<div id=\"attachment_2018\" style=\"width: 310px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/www.cpaonline.es\/blog\/wp-content\/uploads\/2015\/04\/Imagen-de-Noche-y-niebla-de-Alain-Resnais.jpg\" data-rel=\"lightbox-image-1\" data-rl_title=\"\" data-rl_caption=\"\" title=\"\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-2018\" class=\"size-medium wp-image-2018\" src=\"https:\/\/www.cpaonline.es\/blog\/wp-content\/uploads\/2015\/04\/Imagen-de-Noche-y-niebla-de-Alain-Resnais-300x171.jpg\" alt=\"Imagen de Noche y niebla, de Alain Resnais\" width=\"300\" height=\"171\" srcset=\"https:\/\/www.cpaonline.es\/blog\/wp-content\/uploads\/2015\/04\/Imagen-de-Noche-y-niebla-de-Alain-Resnais-300x171.jpg 300w, https:\/\/www.cpaonline.es\/blog\/wp-content\/uploads\/2015\/04\/Imagen-de-Noche-y-niebla-de-Alain-Resnais.jpg 350w\" sizes=\"auto, (max-width: 300px) 100vw, 300px\" \/><\/a><p id=\"caption-attachment-2018\" class=\"wp-caption-text\">Imagen de <strong><em>Noche y niebla<\/em><\/strong>, de <strong>Alain Resnais<\/strong><\/p><\/div>\n<p style=\"text-align: justify;\">Tras el primer desarrollo del cine documental, en periodo coincidente con la II Guerra Mundial hizo que el cine documental virara hacia la propaganda. En los a\u00f1os 50, y con la aparici\u00f3n de la televisi\u00f3n, el cine documental hacia la investigaci\u00f3n de hechos hist\u00f3ricos y a la denuncia, como el documental de <strong>Alain Resnais <em>Noche y niebla<\/em><\/strong> (1955), junto a cortometrajes que mostraban la vida de la clase trabajadora inglesa adscritos al <strong>Free Cinema<\/strong>, y que catapult\u00f3 las carreras de <strong>Lindsay Anderson<\/strong> o <strong>Toni Richardson<\/strong>.<\/p>\n<div id=\"attachment_2017\" style=\"width: 310px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/www.cpaonline.es\/blog\/wp-content\/uploads\/2015\/04\/Imagen-de-La-delgada-l\u00ednea-azul-de-Errol-Morris.jpg\" data-rel=\"lightbox-image-2\" data-rl_title=\"\" data-rl_caption=\"\" title=\"\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-2017\" class=\"size-medium wp-image-2017\" src=\"https:\/\/www.cpaonline.es\/blog\/wp-content\/uploads\/2015\/04\/Imagen-de-La-delgada-l\u00ednea-azul-de-Errol-Morris-300x168.jpg\" alt=\"Imagen de La delgada l\u00ednea azul, de Errol Morris\" width=\"300\" height=\"168\" srcset=\"https:\/\/www.cpaonline.es\/blog\/wp-content\/uploads\/2015\/04\/Imagen-de-La-delgada-l\u00ednea-azul-de-Errol-Morris-300x168.jpg 300w, https:\/\/www.cpaonline.es\/blog\/wp-content\/uploads\/2015\/04\/Imagen-de-La-delgada-l\u00ednea-azul-de-Errol-Morris-1024x576.jpg 1024w, https:\/\/www.cpaonline.es\/blog\/wp-content\/uploads\/2015\/04\/Imagen-de-La-delgada-l\u00ednea-azul-de-Errol-Morris.jpg 1280w\" sizes=\"auto, (max-width: 300px) 100vw, 300px\" \/><\/a><p id=\"caption-attachment-2017\" class=\"wp-caption-text\">Imagen de <em><strong>La delgada l\u00ednea azul<\/strong><\/em>, de <strong>Errol Morris<\/strong><\/p><\/div>\n<p style=\"text-align: justify;\">Gracias a la aparici\u00f3n de la c\u00e1mara de 16mm, y su ligereza, autores como<strong> Chris Marker<\/strong> en<strong> Francia<\/strong> o <strong>Fred Wiseman<\/strong> en <strong>Estados Unidos<\/strong> se busc\u00f3 la discreci\u00f3n a la hora de registrar el comportamiento humano. En los \u00faltimos tiempos, el documental con tono ir\u00f3nico de <strong>Michael Moore<\/strong> o el falso documental, construyendo la narrativa bajo premisas err\u00f3neas o rodado con actores, han dado un nuevo giro al cine\u00a0documental.<\/p>\n<div id=\"attachment_2016\" style=\"width: 310px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/www.cpaonline.es\/blog\/wp-content\/uploads\/2015\/04\/Fotograma-del-filme-Farenheit-9-11-de-Michael-Moore.jpg\" data-rel=\"lightbox-image-3\" data-rl_title=\"\" data-rl_caption=\"\" title=\"\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-2016\" class=\"size-medium wp-image-2016\" src=\"https:\/\/www.cpaonline.es\/blog\/wp-content\/uploads\/2015\/04\/Fotograma-del-filme-Farenheit-9-11-de-Michael-Moore-300x168.jpg\" alt=\"Fotograma del filme Farenheit 9 11, de Michael Moore\" width=\"300\" height=\"168\" srcset=\"https:\/\/www.cpaonline.es\/blog\/wp-content\/uploads\/2015\/04\/Fotograma-del-filme-Farenheit-9-11-de-Michael-Moore-300x168.jpg 300w, https:\/\/www.cpaonline.es\/blog\/wp-content\/uploads\/2015\/04\/Fotograma-del-filme-Farenheit-9-11-de-Michael-Moore.jpg 700w\" sizes=\"auto, (max-width: 300px) 100vw, 300px\" \/><\/a><p id=\"caption-attachment-2016\" class=\"wp-caption-text\">Fotograma del filme <em><strong>Farenheit 9\/11<\/strong><\/em>, de <strong>Michael Moore<\/strong><\/p><\/div>\n","protected":false},"excerpt":{"rendered":"<p>La verdad, o el registro de la misma, ha sido una obsesi\u00f3n por parte de algunos directores a lo largo de la historia del cine.<\/p>\n","protected":false},"author":5,"featured_media":2014,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1,6],"tags":[1225,35],"class_list":["post-2013","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-cine-y-tv","category-destacado-de-audiovisuales","tag-direccion","tag-produccion-audiovisual"],"aioseo_notices":[],"aioseo_head":"\n\t\t<!-- All in One SEO 5.0.3 - aioseo.com -->\n\t<meta name=\"description\" content=\"La verdad, o el registro de la misma, ha sido una obsesi\u00f3n por parte de algunos directores a lo largo de la historia del cine.\" \/>\n\t<meta name=\"robots\" content=\"max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n\t<meta name=\"author\" content=\"Ricardo Gonz\u00e1lez Iglesias\"\/>\n\t<meta name=\"keywords\" content=\"m\u00e1ster en audiovisuales,formaci\u00f3n online en audiovisuales,formaci\u00f3n 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