Poetics of editing in aguaespejo granadino: aesthetic, technical and pedagogical research into the experience of the spectator in the work of José Val del Omar

Abstract

Through the analysis of the editing and the poetic mechanisms

of rhyme, adjacency and juxtaposition in Aguaespejo Granadino

(1960), this article examines José Val del Omar’s ability to create

a poetic form capable of redefining the participatory experience

of the spectator. His triple status as a filmmaker, theorist, and

inventor enabled him to develop the idea of a tactile vision, with

which he sought to follow in the tradition of mystical poetry. At

the same time, he became a key link between the avant-garde

cinema of the 1920s and the “expanded cinema” and underground

cinema of the 1960s and 1970s.