Abstract

This article analyzes part of the filmography of the Catalan director Pere Portabella (Figueres, 1927) in the period 1967-1976. The analysis focuses on those sequences in which Portabella articulates a music-image relationship that allows him to subvert the traditional Institutional Mode of Representation (Burch 2008), while developing a cinematic proposal that is typical of film modernity, also called Modern Mode of Representation. We consider that this subversion of the institutional language happens when it is articulated a music and an image that tense the classical definition of institutional diegetic space-time. We analyze 8 paradigmatic cases that permit us to understand how the aesthetic relationship between music and image in their work allows to develop a modern cinematography proposal.