{"version":"1.0","provider_name":"TAIPEI","provider_url":"https:\/\/taipeirevista.com","author_name":"Agust\u00edn Durruty","author_url":"https:\/\/taipeirevista.com\/index.php\/author\/agustindurruty\/","title":"Contraplano del realismo - TAIPEI","type":"rich","width":600,"height":338,"html":"<blockquote class=\"wp-embedded-content\" data-secret=\"Usrn0j5Bc0\"><a href=\"https:\/\/taipeirevista.com\/index.php\/2021\/09\/02\/contraplano-del-realismo\/\">Contraplano del realismo<\/a><\/blockquote><iframe sandbox=\"allow-scripts\" security=\"restricted\" src=\"https:\/\/taipeirevista.com\/index.php\/2021\/09\/02\/contraplano-del-realismo\/embed\/#?secret=Usrn0j5Bc0\" width=\"600\" height=\"338\" title=\"&#8220;Contraplano del realismo&#8221; &#8212; TAIPEI\" data-secret=\"Usrn0j5Bc0\" frameborder=\"0\" marginwidth=\"0\" marginheight=\"0\" scrolling=\"no\" class=\"wp-embedded-content\"><\/iframe><script>\n\/*! This file is auto-generated *\/\n!function(d,l){\"use strict\";l.querySelector&&d.addEventListener&&\"undefined\"!=typeof URL&&(d.wp=d.wp||{},d.wp.receiveEmbedMessage||(d.wp.receiveEmbedMessage=function(e){var t=e.data;if((t||t.secret||t.message||t.value)&&!\/[^a-zA-Z0-9]\/.test(t.secret)){for(var s,r,n,a=l.querySelectorAll('iframe[data-secret=\"'+t.secret+'\"]'),o=l.querySelectorAll('blockquote[data-secret=\"'+t.secret+'\"]'),c=new RegExp(\"^https?:$\",\"i\"),i=0;i<o.length;i++)o[i].style.display=\"none\";for(i=0;i<a.length;i++)s=a[i],e.source===s.contentWindow&&(s.removeAttribute(\"style\"),\"height\"===t.message?(1e3<(r=parseInt(t.value,10))?r=1e3:~~r<200&&(r=200),s.height=r):\"link\"===t.message&&(r=new URL(s.getAttribute(\"src\")),n=new URL(t.value),c.test(n.protocol))&&n.host===r.host&&l.activeElement===s&&(d.top.location.href=t.value))}},d.addEventListener(\"message\",d.wp.receiveEmbedMessage,!1),l.addEventListener(\"DOMContentLoaded\",function(){for(var e,t,s=l.querySelectorAll(\"iframe.wp-embedded-content\"),r=0;r<s.length;r++)(t=(e=s[r]).getAttribute(\"data-secret\"))||(t=Math.random().toString(36).substring(2,12),e.src+=\"#?secret=\"+t,e.setAttribute(\"data-secret\",t)),e.contentWindow.postMessage({message:\"ready\",secret:t},\"*\")},!1)))}(window,document);\n\/\/# sourceURL=https:\/\/taipeirevista.com\/wp-includes\/js\/wp-embed.min.js\n<\/script>\n","thumbnail_url":"https:\/\/taipeirevista.com\/wp-content\/uploads\/2021\/09\/El-clerigo-y-la-caracola-Germaine-Dulac-1928.jpg","thumbnail_width":973,"thumbnail_height":767,"description":"Ante el cine de baja intensidad, el drama atenuado, el rechazo del efecto cat\u00e1rtico y aquella escrupulosa indiferencia que seg\u00fan Bresson caracteriza a la c\u00e1mara, pero que resulta tan adecuada para describir su cine (as\u00ed como a toda una tendencia est\u00e9tica), la cuesti\u00f3n es recuperar la reflexi\u00f3n m\u00e1s que la fe en la representaci\u00f3n, la tradici\u00f3n de la imagen m\u00e1s que la del realismo, la construcci\u00f3n de sentido m\u00e1s que el reflejo primario o el hallazgo de una verdad(...)"}