The space as protagonist. Border kaleidoscope of the Latin American migrant from the present time

Abstract

Starting from the premise that cinema is “the visual registration and reproduction of reality in its movement” (Rojas, 2000: 15), we can understand the project that gave life to cinematography as the attempt to capture the essence of movement, nourish itself with the visual and the sound, bring together the spatial and the temporal in the most documentary and realistic way possible, as ballet, opera, puppets, dance and theater tried. Not surprisingly, cinema was born in the 19th century, the heyday of positivist bourgeois thought with its empirical scientism. With the dawn of the 20th century, the cinema was greatly influenced by the artistic schools of Impressionism, Expressionism, Symbolism and Futurism; as well as the public's demands for color and sound. Once the films were colored (around the 1910s), and overcoming the fear that the sound system would ruin the moving image, in 1927 they switched from the visual to the audiovisual. The "portraits of reality" were transcended for emotional purposes; objective truthfulness was abandoned to invest in the sensory.