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The present work investigates in the analysis carried out by the French cinematographic theory of the middle of century XX on the relation between the pictorial art and the cinematographic art. Specifically, we take into account the work done by the theorists Andre Bazin and Jean Mitry to verify if the link between cinema and painting has conflicting anchors on the problem of representation. Understanding that both disciplines can be taken not only as transcendental from an artistic profile, but also as generators of meaning processes, it is important to attend to aesthetic, linguistic and philosophical questions to offer an approach to the French line of thought observed in the relationship film-painting various points to discuss. Bazin's thought, based on an ontological theory, and Mitry's exposition, which exposes the condition of cinema as art and language, are key to analyze the transit of the image through various stages of history, from the pictorial representation to the filmic, without forgetting the importance of the emergence of photography, in its dual role of mediator and dissociator, of both periods of the image.

El cine traiciona a la pintura: un acercamiento a la teoria fílmica francesa desde André Bazin y Jean Mitry