Programación Objetivos Generales
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Feature Films
NOMINATIONS AND AWARDS IN OTHER CATEGORIES FOR FOREIGN LANGUAGE (NON-ENGLISH) FEATURE FILMS [Updated thru 88th Awards (2/16)] [* indicates win] [FLF = Foreign Language Film category] NOTE: This document compiles statistics for foreign language (non-English) feature films (including documentaries) with nominations and awards in categories other than Foreign Language Film. A film's eligibility for and/or nomination in the Foreign Language Film category is not required for inclusion here. Award Category Noms Awards Actor – Leading Role ......................... 9 ........................... 1 Actress – Leading Role .................... 17 ........................... 2 Actress – Supporting Role .................. 1 ........................... 0 Animated Feature Film ....................... 8 ........................... 0 Art Direction .................................... 19 ........................... 3 Cinematography ............................... 19 ........................... 4 Costume Design ............................... 28 ........................... 6 Directing ........................................... 28 ........................... 0 Documentary (Feature) ..................... 30 ........................... 2 Film Editing ........................................ 7 ........................... 1 Makeup ............................................... 9 ........................... 3 Music – Scoring ............................... 16 ........................... 4 Music – Song ...................................... 6 .......................... -
CALENDAR January 23
BOWDOIN COLLEGE / ROMANCE LANGUAGES AND Cinema Studies CINE 2116 / SPAN 3116: Spanish Cinema: Taboo and Tradition Spring 2019 / MW 10:05 Elena Cueto Asín. Sills Hall 210 – 725‐3312 – email: [email protected] Office hours: Monday 2:45‐4, or by appointment. This course introduces students to film produced in Spain, from the silent era to the present, focusing on the ways in which cinema can be a vehicle for promoting social and cultural values, as well as for exposing social, religious, sexual, or historical taboos in the form of counterculture, protest, or as a means for society to process change or cope with issues from the past. Looks at the role of film genre, authorship, and narrative in creating languages for perpetuating or contesting tradition, and how these apply to the specific Spanish context. GRADE Class Participation 40% Essays 60% MATERIALS Film available on reserve at the LMC or/and on‐line. Readings on‐line and posted on blackboard CALENDAR January 23. Introduction January 28 ¡Átame! - Tie Me Up! Tie Me Down! (Pedro Almodóvar 1989) Harmony Wu “The Perverse Pleasures of Almodovar’s Átame” Journal of Spanish Cultural Studies 5 (3) 2004: 261-271. Reviews and controversy: New York Times: February 11, April 22 and 23, June 24, May 4, May 24, July 20 of 1989 January 30 Silent Cinema: The Unconventional and the Conventional El perro andaluz- Un Chien Andalou (Luis Buñuel 1927) Jordan Cox “Suffering as a Form of Pleasure: An Exploration of Black Humor in Un Chien Andalou” Film Matters 5(3) 2014: 14-18 February 4 and 6 La aldea maldita- The Cursed Village (Florian Rey 1929) Tatjana Pavlović 100 years of Spanish cinema [electronic resource] Malden, MA: Wiley-Blackwell, 2009: 15-20 Sánchez Vidal, Agustin. -
Avance Largometrajes 2014Feature Films Preview
AVANCE / RESUMEN - CATÁLOGO CINE ESPAÑOL 2018 LARGOMETRAJES SPANISH CINEMA 2018 FEATURE FILMS PREVIEW / SUMMARY Largometrajes con participación española en la producción 2018 2018 Spanish Feature Films (Total: 263 - Ficción/Fiction 127 - Documental/Documentary 134 - Animación/Animation 2) ■ Ficción / Fiction…………………………………………Página/Page 2 ■ Documentales / Documentaries……………...Página/Page 28 ■ Animación / Animation……………………………..Página/Page 55 http://www.culturaydeporte.gob.es/cultura/areas/cine/mc/catalogodecine/inicio.html Publicación digital del Instituto de Cine y Artes Audiovisuales que recoge información sobre las películas cinematográficas con participación española en la producción, y cuyo criterio de selección se basa en haber sido calificadas por primera vez durante el año correspondiente. El contenido que se ofrece es meramente informativo y carece de efectos vinculantes para la Administración. El copyright de las imágenes pertenece a sus respectivos autores y/o productoras - distribuidoras. Digital publication of the Institute for Cinema and Audiovisual Arts (Instituto de Cine y Artes Audiovisuales), designed to promote Spanish films and mainly offering information on films with Spanish participation in production; the selection criteria are based on having been certified for the first time during the corresponding year. The content offered herein is merely informative and not legally binding as far as the Administration is concerned. © Ministerio de Cultura y Deporte 1 | 55 LARGOMETRAJES 2018 SPANISH FEATURE FILMS - FICCIÓN / FICTION #SEGUIDORES - #FOLLOWERS Dirección/Director: Iván Fernández de Córdoba Productoras/Prod. Companies: NAUTILUS FILMS & PROJECTS, S.L. Intérpretes/Cast: Sara Sálamo, Jaime Olías, Rodrigo Poisón, María Almudéver, Norma Ruiz y Aroa Ortigosa Drama 76’ No recomendada para menores de 12 años / Not recommended for audiences under 12 https://www.facebook.com/seguidoreslapelicula/ ; https://www.instagram.com/seguidoreslapelicula/ Tráiler: https://www.youtube.com/watch?v=RK5vUNlMJNc ¿QUÉ TE JUEGAS? - GET HER.. -
Rafael Azcona: Atrapados Por La Vida
Juan Carlos Frugone Rafael Azcona: atrapados por la vida 2003 - Reservados todos los derechos Permitido el uso sin fines comerciales Juan Carlos Frugone Rafael Azcona: atrapados por la vida Quiero expresar mi agradecimiento profundo a Cristina Olivares, Ignacio Darnaude Díaz, Fernando Lara y Manuela García de la Vega, quienes -de una u otra manera- me han ayudado para que este libro sea una realidad. También, por sus consejos, un agradecimiento para Luis Sanz y José Luis García Sánchez. Y ¿por qué no?, a Rafael Azcona, quien no concede nunca una entrevista, pero me concedió la riqueza irreproducible de muchas horas de su charla. Juan Carlos Frugone [5] Es absurdo preguntarle a un autor una explicación de su obra, ya que esta explicación bien puede ser lo que su obra buscaba. La invención de la fábula precede a la comprensión de su moraleja. JORGE LUIS BORGES [7] ¿Por qué Rafael Azcona? Rafael Azcona no sabe nada de cine. Porque ¿quién que sepa de cine puede negar su aporte indudable a muchas de las obras maestras del cine español e italiano de los últimos treinta años? Él lo niega. Todos sabemos que el cine es obra de un director, de la persona cuyo nombre figura a continuación de ese cartel que señala «un film de». Pero no deja de ser curioso que el común denominador de películas como El cochecito, El pisito, Plácido, El verdugo, Ana y los lobos, El jardín de las delicias, La prima Angélica, Break-up, La gran comilona, Tamaño natural, La escopeta nacional, El anacoreta, La corte de faraón y muchísimas más de la misma envergadura, sea el nombre y el apellido de Rafael Azcona. -
80 Years of Spanish Cinema Fall, 2013 Tuesday and Thursday, 9:00-10:20Am, Salomon 004
Brown University Department of Hispanic Studies HISP 1290J. Spain on Screen: 80 Years of Spanish Cinema Fall, 2013 Tuesday and Thursday, 9:00-10:20am, Salomon 004 Prof. Sarah Thomas 84 Prospect Street, #301 [email protected] Tel.: (401) 863-2915 Office hours: Thursdays, 11am-1pm Course description: Spain’s is one of the most dynamic and at the same time overlooked of European cinemas. In recent years, Spain has become more internationally visible on screen, especially thanks to filmmakers like Guillermo del Toro, Pedro Almodóvar, and Juan Antonio Bayona. But where does Spanish cinema come from? What themes arise time and again over the course of decades? And what – if anything – can Spain’s cinema tell us about the nation? Does cinema reflect a culture or serve to shape it? This course traces major historical and thematic developments in Spanish cinema from silent films of the 1930s to globalized commercial cinema of the 21st century. Focusing on issues such as landscape, history, memory, violence, sexuality, gender, and the politics of representation, this course will give students a solid training in film analysis and also provide a wide-ranging introduction to Spanish culture. By the end of the semester, students will have gained the skills to write and speak critically about film (in Spanish!), as well as a deeper understanding and appreciation of Spain’s culture, history, and cinema. Prerequisite: HISP 0730, 0740, or equivalent. Films, all written work and many readings are in Spanish. This is a writing-designated course (WRIT) so students should be prepared to craft essays through multiple drafts in workshops with their peers and consultation with the professor. -
Seville Film
SEVILLE IS CINEMA Seville is a city for recording films. Seville has been and continues to be the setting for many national and international television productions and series. We are very pleased to show you the tourist interest places of that have been the setting for these films, as well as information regarding them. How many times have you seen the Plaza de España in “Lawrence of Arabia” or in “Star Wars: Episode II”, and the Casa de Pilatos in “1492: Conquest of Paradise”? Come and visit these prominent landmarks in situ! The Real Alcázar The Real Alcázar is a monumental complex that date back to the Early Middle Ages, constituting the most important civil building in Seville. The surrounding walls, which can be admired from the Plaza del Triunfo, date from the early 10th century. The Patio del Yeso (Courtyard of the Plaster) belongs to the Almohad period between 1147 and 1237. Its ornamentation inspired later Nasrid architecture, but it was the Christian constructions that gave the complex its current appearance. The Gothic Palace, built during the reign of Alfonso X, has been modified due to the work carried out in the 16th century by the Lisbon earthquake of 1755. The most outstanding features in its rooms are the tiled plinths, the work of Cristóbal Augusta between 1577 and 1583, the set of 18th century tapestries depicting the Conquest of Tunis and the reproduction of the Virgin de La Antigua. The Courtroom, built in the middle of the 14th century during the reign of Alfonso XI, is the first example of the Mudejar style in this area, representing a perfect combination of the Islamic and Christian styles. -
Introduction
Introduction 1 Iciar Bollaín (left) rehearsing Mataharis Iciar Bollaín (Madrid, 1967), actress, scriptwriter, director and producer, is one of the most striking figures currently working in the Spanish cinema, and the first Spanish woman filmmaker to make the Oscars shortlist (2010). She has performed in key films directed by, among others, Víctor Erice, José Luis Borau, Felipe Vega and Ken Loach. Starting out as assistant director and coscriptwriter, she has Santaolalla_Bollain.indd 1 04/04/2012 15:38 2 The cinema of Iciar Bollaín gone on to make four short films and five feature films to date, all but one scripted or coscripted by her. She is also one of the founding members of Producciones La Iguana S. L., a film production company in existence since 1991. Her work raises questions about authorship, female agency and the mediation in film of social issues. It also highlights the tensions between creative and industrial priori ties in the cinema, and national and transnational allegiances, while prompting reflection on the contemporary relevance of cinéma engagé. Bollaín’s contribution to Spanish cinema has been acknowledged both by filmgoers and the industry. Te doy mis ojos (Take My Eyes, 2003) is one of a handful of Spanish films seen by over one million spectators, and was the first film made by a woman ever to receive a Best Film Goya Award (Spanish Goyaequivalent) from the Academia de las Artes y las Ciencias Cinematográficas de España (Spanish Film Academy).1 Recognition has also come through her election to the Executive Committee of the College of Directors and Scriptwriters of the SGAE (Sociedad General de Autores y Editores) in July 2007, and to the VicePresidency of the Spanish Film Academy in June 2009.2 The varied range of Bollaín’s contribution to Spanish cinema, and the extent to which she is directly involved in key roles associated with filmmaking, inevitably lead to speculation on the extent to which she may be regarded as an auteur. -
Accion Mutante
CORE Metadata, citation and similar papers at core.ac.uk Provided by University of Salford Institutional Repository “Esto no es un juego, es Acción mutante”: The Provocations of Álex de la Iglesia Peter Buse Núria Triana-Toribio Andrew Willis University of Salford University of Manchester University of Salford Speaking at the Manchester Spanish Film Festival in 2000, Álex de la Iglesia professed that he was not really a film director. “I’m more of a barman”, he claimed, “I just make cocktails”. His films, he implied, were simply an elaborate montage of quotations from other directors, genres, and film-styles, a self-assessment well borne out by Acción mutante (1993), the de la Iglesias team’s1 first feature film, which promiscuously mixes science fiction and comedy, film noir and western, Almodóvar and Ridley Scott. Were such a claim, and its associated renunciation of auteur status, to issue from an American independent director, or even a relatively self-conscious Hollywood director, would it even raise an eyebrow, so eloquently does it express postmodern orthodoxy? And does it make any difference when it comes from a modern Spanish director? As a bravura cut- and-paste job, a frenetic exercise in filmic intertextuality, Acción mutante is highly accomplished, but it would be a mistake to praise or criticize it on the grounds of its postmodern sensibilities alone without taking into account the intervention it made into a specifically Spanish filmic context where, in the words of the title song “Esto no es un juego, es acción mutante”. AFTER THE LEY MIRÓ Álex de la Iglesia has defined his cinema in terms of what it is not. -
L'espace Chez Rafael Azcona, Scenariste
UNIVERSITE SORBONNE NOUVELLE – PARIS 3 École Doctorale 267 - Arts & Médias EA 1484 - Communication, Information, Médias LABEX Industries culturelles et Création artistique CEISME Centre d’Études sur les Images et Sons Médiatiques THESE REALISEE AVEC LE SOUTIEN DU LABEX ICCA Thèse de Doctorat en Sciences de l’Information et de la Communication Julia Sabina GUTIERREZ L'ESPACE CHEZ RAFAEL AZCONA, SCENARISTE Thèse dirigée par M. le Professeur François JOST Soutenue le 18 octobre 2013 Jury : M. François JOST, Professeur, Université Paris 3 Présentée et soutenue publiquement Mme. Claude MURCIA, Professeur, Université Paris 7 M. Vicente SÁNCHEZ-BIOSCA,le Professeur,18 octobre Univ2013 ersidad de Valencia Résumé Au travers de cette recherche, nous nous sommes attachée à analyser la dimension narrative des scénarii, en nous penchant plus spécifiquement sur le travail de Rafael Azcona (1926-2008), auteur de comédies pour le cinéma et la télévision. Parce qu’il a créé et exploité à l'écran un univers personnel et aisément identifiable pour les spectateurs, ce scénariste est considéré, en Espagne au moins, comme un auteur au sens plein. Notre objectif est comprendre comment un style caractéristique a pu survivre à Rafael Azcona, alors même que son texte se dissolvait peu à peu dans tout le processus de la construction d’une œuvre audiovisuelle. Ce travail analytique est d’autant plus délicat que nous devons également tenir compte du fait qu'il a collaboré avec des cinéastes aux mondes très personnels comme Marco Ferreri, Carlos Saura ou Luis García Berlanga. La principale difficulté rencontrée face au travail de Rafael Azcona était de savoir quel est le scénario original d'un film. -
Department of Hispanic Studies Senior Sophister Course Handbook 2016-2017
DEPARTMENT OF HISPANIC STUDIES Senior Sophister Handbook (2016-2017) DEPARTMENT OF HISPANIC STUDIES SENIOR SOPHISTER COURSE HANDBOOK 2016-2017 This Handbook provides essential information about your SS final year study program in the Department. The information is accurate at the time of preparation. Any necessary revisions will be notified to students via email. Please note that in the event of any conflict between the General Regulations published in the University Calendar (available at http://www.tcd.ie/calendar/) and information contained in this handbook, the provisions of the Calendar will apply. Further information about the study program is provided by the lecturers, by email, on Blackboard, and on the Department website: https://www.tcd.ie/Hispanic_Studies/ A reminder that during the academic year the Department expects you to: − read this handbook carefully - you can download another copy from the Department website − read your Trinity emails and the Department Notice Board regularly − attend all classes − revise, read around and ahead of the topic/theme, and come prepared for each class − set aside at least 30 hours each week for academic work outside language classes, lectures, and seminars − hand in all language homework pieces and required work by the deadline(s) − speak to your lecturer, or Head of Department, if you are in any doubt about your study program or department requirements, or to your College Tutor if you are experiencing personal difficulties. STAFF INFORMATION Name Phone E-mail address Room – Arts Building -
Cine Educación
LA ACADEMIA DE LAS ARTES Y LAS CIENCIAS CINEMATOGRÁFICAS DE ESPAÑA desea encauzar un interés social que ya era patente tanto en la profesión audiovisual como en el mundo educativo que, en común o por separado, vienen trabajando desde hace tiempo para que el cine adquiera en las aulas la relevancia que merece como patrimonio cultural indiscutible en una sociedad inmersa en el lenguaje audiovisual. EDUCACIÓN Con esta finalidad, la Academia Y ha impulsado el proyecto “Cine DOCUMENTO MARCO y Educación”, en el que han colaborado numerosas personas del para el proyecto pedagógico impulsado sector audiovisual y del pedagógico, por la Academia de las Artes y las quienes han elaborado este libro Ciencias Cinematográficas de España CINE para promover la implantación de planes de alfabetización audiovisual en el sistema educativo no universitario. El Documento Marco que ahora Y presentamos, se compone de CINE tres partes principales: la primera, de carácter expositivo y teórico; la segunda, con el enunciado de iniciativas prácticas y los posibles itinerarios para realizarlas, y una EDUCACIÓN tercera, también fundamental, con cinco Anexos que entendemos de gran utilidad para alcanzar los objetivos pretendidos. y CINEEDUCACIÓN Coordinación Fernando Lara, Mercedes Ruiz y Marta Tarín Han participado en la realización de este libro Agustín García Matilla, Ángel Gonzalvo, Araceli Gozalo, Begoña Soto, Carlos Antón, David Castro, Estela Artacho, Fernando Lara, Jacobo Martín Fernández, Jaume Canela, Jorge Naranjo, Marta Tarín, Maryse Capdepuy, Mercedes Ruiz, Olga Martín Sancho y Rebeca Amieva Edita Academia de las Artes y las Ciencias Cinematográficas de España © Academia de las Artes y las Ciencias Cinematográficas de España © Marta Portalés Oliva y Dr. -
Representaciones Realistas De Niños, Adolescentes Y Jóvenes Marginales En El Cine Iberoamericano (1990-2003)
UNIVERSIDAD AUTÓNOMA DE MADRID FACULTAD DE FILOSOFÍA Y LETRAS DEPARTAMENTO DE LINGÜÍSTICA, LENGUAS MODERNAS, LÓGICA Y FILOSOFÍA DE LA CIENCIA, TEORÍA DE LA LITERATURA Y LITERATURA COMPARADA PROGRAMA DE DOCTORADO EN HISTORIA DEL CINE Representaciones realistas de niños, adolescentes y jóvenes marginales en el cine iberoamericano (1990-2003) TESIS DOCTORAL Presentada por: Juan Carlos Vargas Maldonado Director: Dr. Alberto Elena Díaz Madrid, junio de 2008 2 ÍNDICE Introducción 3 1. Las primeras búsquedas “realistas” en el cine 8 1.1 El realismo socialista 11 1.2 El documental etnográfico 13 1.3 El documental social 16 1.4 El realismo poético francés 17 1.5 Dos antecedentes realistas del cine de ficción mexicano y español 19 1.6 El neorrealismo italiano 23 1.7 Ejemplos prototípicos: El Limpiabotas y La tierra tiembla 27 2. Los olvidados: modelo paradigmático sobre los niños, adolescentes y 33 jóvenes marginales 3. La herencia del neorrealismo en las cinematografías venezolana, 42 brasileña, argentina, española, chilena, boliviana y colombiana (1950-1981) 3.1 Venezuela: La escalinata y Soy un delincuente 46 3.2 Brasil: Río 40 grados y Pixote, los olvidados de Dios 54 3.3 Argentina: Tire dié, Crónica de un niño solo y La Raulito 65 3.4 España: Los golfos y Deprisa, deprisa 77 3.5 Chile: Largo viaje y Valparaíso, mi amor 86 3.6 Bolivia: Chuquiago 93 3.7 Colombia: Gamín 97 4. Representaciones realistas 1990-2003 105 4.1 Delincuencia y crimen: Caluga o menta (Chile/España), Lolo (México), 108 Como nacen los ángeles (Brasil) y Ciudad de Dios (Brasil/Francia/Alemania), Pizza, birra, faso (Argentina), Barrio (España/Francia) y Ratas, ratones y rateros (Ecuador/Estados Unidos) 4.2 Sicarios: Sicario (Venezuela) y La virgen de los sicarios 155 (Colombia/España/Francia) 4.3 Niños de la calle: La vendedora de rosas (Colombia), Huelepega, 170 ley de la calle (Venezuela/España), De la calle (México) y El Polaquito (Argentina/España) 5.