Poster mai yiwuwa shine mafi tsufa kuma babu shakka fitaccen bayyanar jama'a ne na zane mai zane. Duk wani ra'ayi game da juyin halitta da abubuwan da ke faruwa a kungiyar yana da alaƙa da ci gaban masana'antu da kasuwanci.
Duk wata hukuma ko wani mahaluƙi, lokacin da ake buƙatar sabis na fosta don inganta amfani da wani labarin a cikin kasuwa, yaduwar nune-nunen, yawon buɗe ido ko yaƙin neman zaɓe na zamantakewar jama'a, yana yin tasiri kan kasancewar wannan yanayin hoto. A cikin masana'antar fim, fastoci suna da tabbatacciyar manufa kuma tabbas kasuwanci ce: don inganta fim da samar da ɗimbin masu sauraro a gidajen siliman.
Tabbas, Mexico ba ta kasance banda a cikin wannan abin mamaki ba, kuma tun daga 1896, daga isowar Gabriel Veyre da Ferdinand Bon Bernard - wakilan 'yan'uwan Lumière, waɗanda ke kula da nuna hoton silima a wannan yanki na Amurka - An ba da umarnin buga jerin shirye-shirye, tare da ambaton ra'ayoyi da gidan wasan kwaikwayon da za a baje kolin su. Bangon garin Mexico ya kasance tare da wannan farfaganda, yana haifar da babban fata da kuma kwararar mai ban mamaki a cikin ginin. Kodayake ba za mu iya danganta duk nasarar waɗannan ayyukan ga waɗancan ƙananan fastocin a hanyar fitila ba, mun san cewa sun cika aikinsu na asali: tallata taron. Koyaya, bai daina mamakin cewa ba a amfani da fastoci kusa da manufar da muke da ita ba, tun a wancan lokacin, a cikin Meziko, don sanarwar ayyukan wasan kwaikwayo - kuma musamman waɗanda ke gidan wasan kwaikwayo na mujallar, nau'in na babbar al'ada a babban birni - ya riga ya zama gama gari a yi amfani da hotuna a fastocin talla kamar waɗanda Toulousse-Lautrec, a Faransa, ta yi don abubuwan da suka faru.
Aramin albashi na farko na talla a siliman na Mexico zai zo ne daga 1917, lokacin da Venustiano Carranza - wacce ta gaji da mummunan halin ƙasar ta bazu a ƙasashen waje saboda finafinan Juyin Juya Halinmu - ya yanke shawarar inganta samar da kaset ɗin da ke ba da hangen nesa daban na mutanen Mexico. A saboda wannan dalili, ba a yanke shawarar kawai don daidaita waƙoƙin mashahuri na Italiyanci da keɓaɓɓen yanayin gida ba, har ma da yin kwaikwayon siffofinsu na gabatarwa, gami da, kodayake don lokacin da aka nuna fim ɗin a wasu ƙasashe, zanen hoton a inda hoton jarumar mai dogon tarihi na da alfarma don jan hankalin 'yan kallo. A gefe guda kuma, a cikin sauran shekarun farko na karni na 20 da kuma cikin shekarun da suka gabata, abin da aka saba amfani da shi don yada 'yan fina-finai da aka samar a wancan lokacin zai zama tsohuwar abin da ake kira photomontage a yau. , katin kwali ko katin zaure: mai kusurwa huɗu wanda ya kai kimanin 28 x 40 cm, wanda a ciki aka sanya hoto kuma aka zana ƙididdigar take da za a ɗaukaka a sauran sassan.
A cikin 1930s, hoton ya fara ɗaukar matsayin ɗayan mahimman kayan haɗi don haɓaka finafinai, tunda fara fim ya fara aiki sosai tun lokacin yin Santa (Antonio Moreno, 1931). A wancan lokacin masana'antar fim a Mexico ta fara daukar hoto kamar haka, amma ba zai zama ba sai a shekarar 1936, lokacin da aka dauki fim din Allá en el Rancho Grande (Fernando de Fuentes), lokacin da aka karfafa shi. Ya kamata a sani cewa wannan fim ɗin ana ɗaukarsa ɗayan matakai na tarihin silima na Mexico, tunda saboda mahimmancinsa a duniya, ya ba wa furodusan ƙasar damar gano makircin aiki da salon fim na ƙasa da ya biya su.
MAGANAR GWAMNANIN ZAMANIN KUNGUNAN CINEMA
Ci gaba da wannan layi na aiki tare da ɗan bambanci kaɗan, a cikin ɗan gajeren lokaci masana'antar fim ta Meziko ta zama mafi mahimmancin masana'antar masu magana da Sifaniyanci. Tare da nasarar farko da aka samu bisa cikakken damarta, an kirkiro tsarin taurari a Mexico, kwatankwacin wanda ke aiki a Hollywood, tare da tasiri a cikin Latin Amurka, yankin da sunayen Tito Guízar, Esther Fernández, Mario Moreno Cantinflas, Jorge Negrete ko Dolores del Río, a matakin farko, da Arturo de Córdova, María Félix, Pedro Armendáriz, Pedro Infante, Germán Valdés, Tin Tan ko Silvia Pinal, a tsakanin wasu da dama, tuni an ba da tabbacin samun nasarar ofishin. Tun daga wannan lokacin, a cikin abin da kwararru daban-daban suka kira Zinaren Zinariya na sinima na Mexico, ƙirar hoton har ila yau sun sami zamanin zinariya. Marubutan, tabbas, suna da ƙarin dalilai a cikin fifikonsu don aiwatar da aikinsu; suna aiwatarwa, ba tare da lambar ko lambobin da aka ƙayyade ba ko layukan aiki, jerin halaye da aka bayyana dalla-dalla a cikin littafin da aka ba da shawarar sosai mai suna Carteles de la Época de Oro del cine Mexicano / Poster Art daga Zinariyar Zinaren Cinema ta Mexico, na Charles Ramírez-Berg da Rogelio Agrasánchez, Jr. (Archivo Fílmico Agrasánchez, Imcine da UDG, 1997). A waccan shekarun, ta hanyar, ba kasafai marubutan suka sanya hannu a kan fastoci ba, tunda galibin wadannan masu fasahar (mashahuran masu zane-zane, masu zane-zane ko masu zane-zane) suna daukar wadannan ayyukan a matsayin kasuwanci ne kawai. Duk da abin da ya gabata, godiya ga aikin kwararru kamar waɗanda muka ambata ɗazu Agrasánchez, Jr., da Ramírez-Berg, ban da Cristina Félix Romandía, Jorge Larson Guerra (marubutan Fim ɗin Meziko na Mexico, waɗanda Cinemas na Nationalasa suka shirya fiye da 10 shekaru, na dogon lokaci littafi kawai a kan batun, a halin yanzu ba a buga shi) da Armando Bartra, shi ne cewa sun sami damar wuce wasu sunaye irin su Antonio Arias Bernal, Andrés Audiffred, Cadena M., José G. Cruz, Ernesto El Chango García Cabral, Leopoldo da José Mendoza, Josep da Juanino Renau, José Spert, Juan Antonio da Armando Vargas Briones, Heriberto Andrade da Eduardo Urzáiz, da sauransu, kamar yadda waɗanda ke da alhakin yawancin waɗannan ayyukan ban mamaki suka shafi fastocin fina-finan da aka samar tsakanin 1931 da 1960.
SHAFE DA Sake BAYYANA NA FASSARA
Bayan wannan zamanin na ɗaukaka, tare da abin da ya faru a cikin fim ɗin masana'antar fim a cikin shekaru sittin da yawa, ƙirar faifan fim ɗin a Meziko na fuskantar mummunan rauni da zurfin zurfin ciki, in ban da kaɗan Keɓaɓɓu kamar wasu ayyukan da Vicente Rojo, Alberto Isaac ko Abel Quezada suka yi, gabaɗaya sun faɗa cikin ƙiyayya da rawaya tare da zane mai banƙyama a cikin jajayen jini, kiraye-kiraye masu banƙyama da kuma yawan matan da suka yi ƙoƙarin wakiltar manyan 'yan wasan fim. Tabbas, har ila yau a cikin waɗancan shekarun, musamman ma a ƙarshen wannan shekarun, kamar yadda a cikin wasu fannoni na tarihin silima ta Mexico, sabon ƙarni na masu zane-zane suna ta yin gishiri, waɗanda daga baya, tare da haɗakar da masu fasahar filastik mafi ƙwarewa a cikin wasu fannoni, za su sabunta ra'ayoyin ƙirar zane ta hanyar tsoro don amfani da jerin nau'ikan fasali da ra'ayoyi.
Tabbas, yayin da aka sake sabunta ƙwararrun masanan masana'antar fina-finai ta Meziko, a yawancin fuskokin ta, ci gaban fastoci ba banda haka. Daga 1966-67, fastocin da suka haɗu, a matsayin babban jigonsu na hoto, babban hoto mai wakiltar jigon fim ɗin, kuma daga baya an ƙara nau'in fasalin halaye da halaye na musamman. Kuma ba wai ba a yi amfani da hotuna ba a cikin fastocin ba, amma babban bambancin shi ne a cikin wannan yanayin, abin da aka saka a cikin waɗannan fastocin hotunan hoto ne na actorsan wasa da suka sa baki a fim ɗin, amma ga alama wannan saƙon tuni ya rasa tsohon tasirinsa ga jama'a. Kar a manta cewa tsarin taurari ya riga ya zama tarihi a wancan lokacin.
Wani salon wanda ba da daɗewa ba ya zama sananne shi ne ɗan ƙarami, wanda, kamar yadda sunan ya nuna, an haɓaka hoto gabaɗaya daga ƙananan abubuwan zane. Sauti ne mai sauki amma tabbas ba haka bane, tunda don kaiwa ga fahimtarta ta ƙarshe ya zama dole a haɗa jerin ra'ayoyi da ra'ayoyi game da jigon fim ɗin, da la'akari da jagororin kasuwanci waɗanda zasu ba da damar bayar da kyakkyawar hoto wanda aikinsa zai cika. manufar jan hankalin mutane zuwa sinima. Abin farin ciki, a lokuta da yawa wannan burin ya cika fiye da cikawa, kuma hujja akan wannan sune ƙididdigar halittu marasa adadi, sama da duka, na ƙwararren mai ƙira a wancan lokacin, wanda babu shakka ya sanya lokaci tare da salon sa wanda babu kuskure: Rafael López Castro.
FASADAR FASAHA A CIGABA CIGABA DA FASSARAR
A cikin 'yan kwanakin nan, manufofin fatauci da zamantakewar al'umma, tare da wasu ƙananan bambance-bambance, su ne waɗanda suka yi nasara a cikin Meziko har zuwa ɗaukar hoto na hotunan fim. Tabbas, dole ne mu nuna cewa tare da gagarumin sauyin fasahar da muka fuskanta, musamman na kimanin shekaru 10, daya daga cikin bangarorin da suka ci gajiyar wannan shi ne zane. Sabuwar software da ta tashi kuma ana sabunta ta cikin saurin gudu, sun ba masu zane kayan aikin aiki masu ban sha'awa wadanda, ban da sauƙaƙe sauƙaƙa ayyukansu, sun buɗe babban faifan hoto wanda kusan babu tunani ko sha'awa a ciki. cewa ba za su iya yi ba. Da yawa sosai don yanzu suna ba mu sakamakon wasu kyawawan hotuna, masu ban tsoro, masu tayar da hankali ko waɗanda ba za a iya misaltawa ba, waɗanda koyaushe suna ɗaukar hankalinmu, ko dai mafi kyau ko kuma mafi muni.
Duk da abin da ya gabata, yana da kyau a dage cewa duk wadannan kayan aikin kere-kere, wadanda aka sanya su a wajen hidimar masu zane, kayan aiki ne da gaske kuma ba wai maye gurbin baiwarsu da kwarin gwiwa ba ne.Wannan ba zai taba faruwa ba, kuma a matsayin hujja maras tabbas sunayen Rafael López Castro, Vicente Rojo, Xavier Bermúdez, Marta León, Luis Almeida, Germán Montalvo, Gabriela Rodríguez, Carlos Palleiro, Vicente Rojo Cama, Carlos Gayou, Eduardo Téllez, Antonio Pérez Ñico, Concepción Robinson Reliel , Bernardo Recamier, Félix Beltrán, Marta Covarrubias, René Azcuy, Alejandro Magallanes, Ignacio Borja, Manuel Monroy, Giovanni Troconni, Rodrigo Toledo, Miguel Ángel Torres, Rocío Mireles, Armando Hatzacorsian, da sauran su koyaushe, da sauransu Sunaye sunaye lokacin magana game da gidan wasan kwaikwayo na Mexico na shekaru talatin da suka gabata. Ga dukkan su, ga duk sauran waɗanda muka ambata a sama, da kuma duk wanda ya sanya fosta don finafinan Meziko a kowane lokaci, na iya wannan ɗan gajeren labarin ya zama ƙarami amma ya cancanci fitarwa saboda ƙirƙirar al'adun gargajiya na musamman na mutuntaka da na ƙasa da ba za a iya musuntawa ba. Baya ga cika babban aikinta, tunda a sama da lokuta, wadanda aka cutar da hotunan su, mun je sinima kawai don gane cewa hoton ya fi fim din kyau. Ba wata hanya, sun yi aikinsu, kuma fosta ta cika burinta: don kama mu da sihirin gani.
Source: Mexico a Lokaci Na 32 Satumba / Oktoba 1999
