Cuadros en movimiento: la pintura en el cine: Relaciones intermediales en La hora de los valientes [Mercero 1998] y Te doy mis ojos [Bollaí­n 2003]

Abstract

The objective of this article is to study the relationship between cinema and painting from an intermedial perspective by analysing two Spanish films: La hora de los valientes (Antonio Mercero 1998) and Te doy mis ojos (Icí­ar Bollaí­n 2003). We intend to compare how the respective directors use painting to construct and enrich the cinematographic story and to analyse what narrative and artistic role the paintings play in the filmic text. The study of the two films will serve to illustrate our initial hypothesis, that painting is used not only for artistic and narrative purposes, but also to make the spectator a witness of a twofold drama: the individual and the collective. The exchange of looks which permeates the diegesis places painting to the forefront, whilst determining the interpretation of the filmic text