Iphosta kungenzeka ukuthi iyona endala kunazo zonke futhi ngokungangabazeki ukubonakaliswa okuvelele komphakathi komklamo wezithombe. Noma imuphi umbono ngokuvela kanye namathemba e-cartel ahlotshaniswa nentuthuko yezimboni nezentengiso.
Noma yisiphi isikhungo noma inhlangano, lapho icela izinsizakalo zeposta ukukhuthaza ukusetshenziswa kwendatshana ethile emakethe, ukusakazwa kwemibukiso, ezokuvakasha noma imikhankaso yokuqondiswa komphakathi, inethonya ekubeni khona kwalesi simiso somfanekiso. Embonini yamafilimu, amaphosta anenhloso ecacile neneqiniso yezentengiso: ukukhuthaza ifilimu nokukhiqiza ababukeli abaningi kumathiyetha.
Yiqiniso, iMexico ayizange ibe yinto engafani nalokhu, futhi kusukela ngo-1896, kusukela ekufikeni kukaGabriel Veyre noFerdinand Bon Bernard - izithunywa zabazalwane baseLumière, ababephethe ukukhombisa i-cinematograph kule ngxenye yaseMelika - , uchungechunge lwezinhlelo lwayalelwa ukuthi luphrintwe lapho kwakhulunywa khona ngemibono kanye naseshashalazini abazokhonjiswa kulo. Izindonga zaseMexico City zazigcwele le nkulumo-ze, okwadala ukulindela okukhulu nokutheleka okumangazayo esakhiweni. Yize singeke sathi konke lokhu kuphumelela kwale misebenzi kube yilezi zingqwembe ezincane ezinjengelambu, siyabona ukuthi bafeza umsebenzi wabo oyisisekelo: ukwazisa umcimbi. Kodwa-ke, akupheli ukumangaza ukuthi lapho-ke amaphosta awazange asetshenziselwe eduze nomqondo esinawo ngawo, kusukela ngaleso sikhathi, eMexico, ukumenyezelwa kwemidlalo yaseshashalazini - futhi ikakhulukazi leyo yaseshashalazini lomagazini, uhlobo yesiko elihle enhlokodolobha - bekuvele kujwayelekile ukusebenzisa izithombe kumaphosta okuphromotha afana nalawo enziwe yiToulousse-Lautrec, eFrance, emicimbini efanayo.
Ukuqhamuka okuncane kweposta kumabhayisikobho aseMexico kwakuzovela ngo-1917, lapho uVenustiano Carranza - ediniwe yisithombe esibuhlungu sezwe esasakazeka phesheya ngenxa yamafilimu e-Revolution yethu - wanquma ukukhuthaza ukukhiqizwa kwamateyipu okwakunikeza umbono ohluke ngokuphelele wabaseMexico. Ngale njongo, kwanqunywa ukuthi hhayi kuphela ukuvumelanisa ama-melodramas adume kakhulu e-Italy ngaleso sikhathi emvelweni yendawo, kepha futhi nokulingisa izinhlobo zabo zokuphromotha, kufaka phakathi, yize kwakwenzelwe kuphela lapho ifilimu ikhonjiswa kwamanye amazwe, umdwebo weposta lapho isithombe seqhawekazi elibekezela lendaba lalinelungelo lokuheha ababukeli. Ngakolunye uhlangothi, kule minyaka eyishumi yokuqala yekhulu lama-20 nangawo wonke amashumi amabili eminyaka, isici esivamise ukusetshenziswa ukusabalalisa amafilimu ambalwa akhiqizwa ngalezo zikhathi kungaba yisandulela salokho manje esaziwa ngokuthi yi-photomontage , amakhadibhodi noma ikhadi lokwamukela izivakashi: unxande ongalinganiselwa ku-28 x 40 cm, lapho kwafakwa khona isithombe futhi amakhredithi etayitela elizophakanyiswa adwetshwa ebusweni bonke.
Ngama-1930s, iphosta yaqala ukubhekwa njengenye yezinsiza ezibalulekile ekukhuthazeni amafilimu, ngoba ukukhiqizwa kwamafilimu kwaqala ukungaguquguquki selokhu kwenziwa uSanta (u-Antonio Moreno, 1931). Ngaleso sikhathi imboni yamabhayisikobho eMexico yaqala ukwakheka kanjalo, kodwa kwakungeke kuze kube ngo-1936, lapho kwaqoshwa u-Allá en el Rancho Grande (Fernando de Fuentes), lapho yayiyohlanganiswa khona. Kumele kuqashelwe ukuthi le filimu ithathwa njengenye yezingqophamlando emlandweni webhayisikobho yaseMexico, ngoba ngenxa yokubaluleka kwayo emhlabeni jikelele, ivumele abakhiqizi bezwe ukuthi bathole uhlelo lomsebenzi nesitayela sobuzwe sebhayisikobho esikhokhelwe bona.
I-POSTER YEGOLIDI EMINYAKA EMEXICAN CINEMA
Ukuqhubeka nalolu hlobo lomsebenzi ngokuhlukahluka okumbalwa, ngesikhathi esifushane imboni yamafilimu yaseMexico yaba imboni ebaluleke kakhulu ekhuluma iSpanishi. Ngaleyo mpumelelo yokuqala kwenziwa konke okusemandleni ayo, kwasungulwa uhlelo lwezinkanyezi eMexico, olufana nalolo olusebenza eHollywood, olunethonya kulo lonke elaseLatin America, okuyindawo lapho amagama kaTito Guízar, u-Esther Fernández, uMario Moreno Cantinflas, uJorge Negrete noma iDolores del Río, esigabeni sayo sokuqala, no-Arturo de Córdova, María Félix, Pedro Armendáriz, Pedro Infante, Germán Valdés, Tin Tan noma uSilvia Pinal, phakathi kwabanye abaningi, kakade kwakusho isiqinisekiso sokuphumelela ehhovisi lamabhokisi. Kusukela lapho, kulokho okubizwa ngokuthi yiGolden Age of cinema yaseMexico ngochwepheshe abahlukahlukene, ukwakhiwa kwale poster nakho kwahlangabezana neminyaka yegolide. Ababhali bayo, ngokuqinisekile, babenezici eziningi ezazivuna bona ukwenza umsebenzi wabo; bebeqalisa, ngaphandle kwekhodi noma amaphethini anqunyelwe kusengaphambili noma imigqa yomsebenzi, uchungechunge lwezici ezichazwe ngokufanelekile encwadini enconywe kakhulu iCarteles de la Época de Oro del cine Mexicano / Poster Art evela kwiGolden Age of Mexican Cinema, nguCharles Ramírez-Berg noRogelio Agrasánchez, Jr. (Archivo Fílmico Agrasánchez, Imcine kanye ne-UDG, 1997). Ngaleyo minyaka, ngalendlela, izingqwembe zazingavamile ukusayinwa ngababhali bazo, ngoba iningi lalaba baculi (abadwebi abadumile, abadwebi bekhathuni noma abadwebi bamakhathuni) babebheka le misebenzi njengeyentengiselwano kuphela. Ngaphandle kwalokhu okungenhla, ngenxa yomsebenzi wochwepheshe abanjengo-Agrasánchez, Jr., noRamírez-Berg, ngaphezu kukaCristina Félix Romandía, uJorge Larson Guerra (ababhali beThe Mexican Film Poster, ehlelwe yiNational Cinemas isikhathi esingaphezu kweshumi iminyaka, isikhathi eside okuwukuphela kwencwadi ekhuluma ngale ndaba, okwamanje engaphrintiwe) no-Armando Bartra, ukuthi bakwazile ukudlula amagama anjengo-Antonio Arias Bernal, Andrés Audiffred, Cadena M., José G. Cruz, Ernesto El Chango García Cabral, ULeopoldo noJosé Mendoza, uJosep noJuanino Renau, uJosé Spert, uJuan Antonio no-Armando Vargas Briones, uHeriberto Andrade no-Eduardo Urzáiz, phakathi kwabanye abaningi, njengalabo ababhekele eziningi zaleyo misebenzi emangalisayo basebenza kumaphosta amafilimu akhiqizwa phakathi kuka-1931 no 1960.
UKUPHELA NOKUVUSELELWA KWEPOSIKA
Ngemuva kwalesi sikhathi sobukhazikhazi, kanye nokuhlangenwe nakho kwe-panorama yomkhakha wamafilimu eminyakeni engamashumi ayisithupha kakhulu edlule, ukwakheka kweposta yama-movie eMexico kubhekana nobubi obukhulu nobunzulu, lapho ngaphandle kwabambalwa Okuhlukile njengokunye kwemisebenzi eyenziwe nguVicente Rojo, u-Alberto Isaac noma u-Abel Quezada, kukonke kwawela ekungakhathaleni nasebuphuzi ngemiklamo ebabazekayo ebomvu ebomvu, ama-calligraphies ahlambalazayo nezibalo zabesifazane abazama ukumela abalingisi abaphambili. Vele, nakuleyo minyaka, ikakhulukazi ekupheleni kwaleli shumi leminyaka, njengakwezinye izici zomlando webhayisikobho yaseMexico, isizukulwane esisha sabaklami sasithinta, okwathi kamuva, kanye nokuhlanganiswa kwabadwebi bepulasitiki abavela isipiliyoni esikhulu kweminye imikhakha, bangavuselela imiqondo yokwakhiwa kweposta ngokuqikelela ukusebenzisa uchungechunge lwamafomu nemibono yenoveli.
Empeleni, ngenkathi kuvuselelwa abaphathi abangochwepheshe embonini yamafilimu baseMexico, ezicini zayo eziningi, ukwandiswa kwamaphosta nakho bekungafani. Ukusuka ngo-1966-67, amaphosta ahlanganiswa, njengesici sazo esiyinhloko sokuqhafaza, isithombe esikhulu esimele usayizi wengqikimba ekhulunywe yifilimu saqala ukwanda kakhulu, kwabe sekungezwa uhlobo lobuciko obunobuntu obuhlukile. Futhi akukhona ukuthi izithombe bezingasetshenziswanga emaphosta, kodwa umehluko omkhulu bekungukuthi kulesi simiso, obekufakwa kulawo maposta bekuyizithombe zesitayela kuphela zabalingisi abangenelele kule filimu, kepha kusobala ukuthi lo mlayezo ubusukhona yayilahlekelwe ngumthelela wayo wakudala emphakathini. Ungakhohlwa ukuthi uhlelo lwenkanyezi lwalusele luyinto yesikhathi esedlule ngaleso sikhathi.
Esinye isitayela esasivele sajwayeleka kwaba yi-minimalist, lapho, njengoba igama layo lisho, isithombe sonke sakhiwa kusuka ezintweni ezincane zemidwebo. Kuzwakala kulula kepha bekungenjalo, ngoba ukufinyelela emcabangweni wayo wokugcina bekudingeka ukuhlanganisa uchungechunge lwemibono nemiqondo maqondana nezindikimba zefilimu, futhi kubhekwe nemihlahlandlela yezentengiselwano engavumela ukunikezwa kweposta ekhangayo umsebenzi wayo oyisisekelo ozogcwalisa inhloso yokuheha abantu emabhayisikobho. Ngenhlanhla, ezikhathini eziningi le njongo yagcwaliseka ngaphezu kokugcwaliseka, futhi ubufakazi balokhu yizinto ezingenakubalwa zokudalwa, ngaphezu kwakho konke, zomklami ovelele kakhulu wangaleso sikhathi, ngokungangabazeki owabeka isikhathi ngesitayela sakhe esingaqondakali: uRafael López Castro.
UKUQHUBEKA KWETHEKHINOLOJI EKUTHUTHUKISWENI KWEPHOSIKA
Ezikhathini zakamuva nje, izinhloso zomusa nezenhlalo, ezinokuhlukahluka okuncane, yilezo eseziphumelele eMexico maqondana nokucatshangelwa kwamaphosta e-cinematographic. Vele, kufanele siveze ukuthi ngoguquko olukhulu lobuchwepheshe esesike sabhekana nalo, ikakhulukazi iminyaka engaba yishumi, enye yezindawo ezihlomule kakhulu kulokhu kube ukuklanywa. Isoftware entsha evelayo futhi evuselelwa ngejubane eleqile, inikeze abaklami amathuluzi omsebenzi amahle, ngaphandle kokuwenza lula umsebenzi wabo, avule i-panorama enkulu lapho kungekho mqondo noma sifiso khona. ukuthi abakwazi ukwenza. Kangangokuthi manje basinikeza ngenxa yalokho uchungechunge lwezithombe ezinhle, ezesabekayo, eziphazamisayo noma ezingachazeki, ezihlala zidonsa ukunaka kwethu, kungaba okuhle noma okubi.
Ngaphandle kwalokhu okungenhla, kufanelekile ukugcizelela ukuthi bonke lobu buchwepheshe bobuchwepheshe, obusetshenziselwe abaklami, empeleni buyithuluzi lomsebenzi futhi abuyithathi indawo yethalente labo nogqozi lwabo. Lokho ngeke kuze kwenzeke, futhi njengobufakazi obungenakuphikwa ukuthi lokho Amagama kaRafael 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 Patricia , 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 abanye njalo, Carolina Kerlow nabanye Amagama ayizethenjwa lapho kukhulunywa ngeposta yesinema yaseMexico yeminyaka engamashumi amathathu edlule. Kubo bonke, kubo bonke abanye okukhulunywe ngabo ngenhla, nakunoma ngubani owenze iphosta yamafilimu aseMexico asikhathi sonke, kwangathi le ndatshana emfushane ingasebenza njengokuqashelwa okuncane kodwa okufanelekile ngokwakha isiko lesiko elingajwayelekile lobuntu obungephikwe nobuzwe. Ngaphezu kokufeza umsebenzi wayo oyinhloko, ngoba ezikhathini ezingaphezu kwesisodwa, izisulu zeziphonso zezithombe zayo, saya ebhayisikobho kuphela ukubona ukuthi iphosta yayingcono kunefilimu. Akunandlela, benze umsebenzi wabo, futhi iphosta yafeza inhloso yayo: ukusibamba ngesipelingi saso sokubuka.
Umthombo: IMexico ngesikhathi esingu-32 Septhemba / Okthoba 1999
