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En el presente articulo queremos poner nuestra atencion en un particular recurso de la construccion cinematografica, el matte painting , un efecto especial que en pocas ocasiones ha recibido suficiente atencion por parte de investigaciones de caracter teorico pero que sin embargo se presenta como una materia particularmente sugestiva en la que se recurre a la sinergia entre lo pictorico y lo filmico para la elaboracion de una imagen hibrida producto de la colaboracion simbiotica entre ambos medios. A lo largo del presente articulo comprobaremos como en un plano con matte painting se activa un complejo dialogo entre pintura y cine, una relacion de aportes mutuos donde la pintura contribuye incorporando todo aquello que la camara no alcanza a retratar y el cine aporta certificado de realidad a lo pintado. Y sera en el seno de este contexto donde encontramos una de las relaciones mas intimas, si no la mas intima, de cuantas se establecen entre cine y pintura. Abstrac : In this paper we want to focus on a particular resource of the cinematographic construction, matte painting, a special effect that very few times has received sufficient attention by theoretical investigations but which nevertheless appears as a particularly suggestive subject in which the synergy between the pictorial and the film is used for the elaboration of a hybrid image resulting from the symbiotic collaboration between both media. Throughout this article we will see how in a shot with matte painting we can find a complex dialogue between painting and cinema, a relationship of mutual contributions where painting contributes incorporating everything that the camera fails to portray and film provides a certificate of reality to the painted image. And it will be in this context where we find one of the most intimate, if not the most intimate, relationships of those established between cinema and painting.

Relación simbiótica entre pintura y cine en el matte painting