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La Mujer Es Cosa De Hombres-Isabel Coixet
50 años de... - La mujer, cosa de hombres. Isabel Coixet. Corto dirigido por Isabel Coixet en torno al tradicional papel de la mujer en la sociedad española y la repercusión que tienen en los medios los delitos por violencia de género. http://www.rtve.es/alacarta/videos/50-anos-de/50-anos-mujer-cosa- hombres/1491834/ Isabel Coixet nació en Sant Adrià del Besós el 9 de abril de 1960. Estudió Historia Contemporánea en la Universidad de Barcelona, trabajó como periodista en la revista Fotogramas . Su afición a la imagen le hace acercarse al mundo del cine, desempeñando diversas tareas y al mundo de la publicidad en el que, tras un tiempo, creará productora propia. Años más tarde, decidida a filmar su primer largometraje, se traslada a Estados Unidos a rodar Cosas que nunca te dije (1996). Un año después, nace su hija Zoe. Es un peso pesado de la industria publicitaria, y dirigió anuncios por todo el mundo: ha sido directora creativa de la agencia JWT, fundadora y directora creativa de la agencia Target y la productora Eddie Saeta, obteniendo los más prestigiosos premios por sus trabajos en este campo. En el año 2000 creó la productora Miss Wasabi Films desde donde también ha realizado destacados documentales -y vídeo clips a los más variados músicos En 2005 realiza La vida secreta de las palabras cuyos protagonistas son Tim Robbins y Sarah Polley. En 2006 formó, junto a otras cineastas como Inés París, Chus Gutiérrez o Icíar Bollaín, CIMA (Asociación de mujeres cineastas y de medios audiovisuales). Isabel ha contado con Penélope Cruz para el papel protagonista de su película Elegy, estrenada en 2008, y basada en una novela de Philip Roth. -
Marta Díaz De Lope Díaz: a Conversation with the Filmmaker
This work is on a Creative Commons Attribution-NonCommercial 4.0 International (CC BY-NC 4.0) license, https://creativecommons.org/licenses/by-nc/4.0/. Access to this work was provided by the University of Maryland, Baltimore County (UMBC) ScholarWorks@UMBC digital repository on the Maryland Shared Open Access (MD-SOAR) platform. Please provide feedback Please support the ScholarWorks@UMBC repository by emailing [email protected] and telling us what having access to this work means to you and why it’s important to you. Thank you. 1 The Passion of Marta Díaz de Lope Díaz: A Conversation with the Filmmaker In her directorial debut, Ronda native Marta Díaz de Lope Díaz takes inspiration from the cartography of her origin for her filmic vision. Her cultural roots anchor her life and filmography, that she has been perfecting over the years of her study and teaching at the ESCAC film school in Barcelona. Her first feature-length film, Mi querida cofradía (Hopelessly Devout), clearly reflects this influence since it drinks and revels in the most traditional celebration of her hometown: Holy Week. Likewise, as can be seen in this interview, the feature establishes an interesting parallel between the passion of the protagonist Carmen (Gloria Muñoz) to realize her dream of leading her Catholic brotherhood and the aspiration of its own Marta Díaz to become a film director. With humor, her cinema masterfully delves into the experiences of women, of their sisterhood, in both the private and public spheres, displaying the obstacles that they encounter when trying to fulfill their goals in a man’s world and exhibiting their skills at overcoming interference. -
Walter Salles
Selenium Films / A Contracorriente films / Altiro Films Original title: “La contadora de películas” A film by Isabel Coixet Screenplay by Walter Salles & Isabel Coixet Based on the novel «La Contadora de Películas» of Hernán Rivera Letelier This is the captivating story of Maria Margarita, The story develops hand in hand with a young girl who lives in a mining town nestled relevant cultural events in the history of in the heart of Chile's Atacama Desert in the the town, like the arrival and success of 60s. She has a very special gift — an almost un- cinema exhibition, followed by its decline canny ability to retell movies. Her talent and as the TV arrives. On a broader passion soon spread beyond her impoverished perspective, ‘The Movie-Teller’ portrays the family circle — five siblings and their disabled decay of the historical salt-peter mining father confined to a wheel-chair, who can only towns in the North of Chile. The film afford a ticket for one at the local movie thea- reveals the untold memories buried deep tre— to reach the whole community. People get in our historical roots; we are taught how together to listen Maria Margarita with delight all the dreams and hopes of ordinary and amusement, so they can forget the harsh people are ultimately subjected to the routines of their day-to-day lives. tyranny of fate. « I was immediately touched « It has all the elements by its profound humanity, that fascinate me and that by the innate capacity to blend make me love cinema humor and drama, and, of course, above all things » by its utter passion for film » _ _ Isabel Coixet Walter Salles Production storytelling. -
SEATTLE SEATTLE INTERNATIONAL FILM FESTIVAL for More Information Go To
NEWS FROM EGEDA US Phone: 310 246 0531 Fax: 310 246 1343 Email: [email protected] SPANISH MOVIES IN USA – JUNE 2013 LOS ANGELES LOS ANGELES INTERNATIONAL FILM FEST For more information go to http://filmguide.lafilmfest.com/tixSYS/2013/xslguide/eventnote.php?EventNumber=5446 I’m So Excited! Thu, June 13 – 7:30 PM (Opening Night) at Regal Cinemas, 1000 W. Olympic Blvd. Dir. Pedro Almodovar - Spain|2012|90 min. Cast: Antonio de la Torre, Hugo Silva, Miguel Ángel Silvestre, Laya Martí, Javier Cámara, Carlos Areces, Raúl Arévalo, José María Yazpik, Guillermo Toledo, José Luis Torrijo, Lola Dueñas, Cecilia Roth, Blanca Suárez When a passenger jet headed for Mexico--which you are free to take or leave as a metaphor for Spain today--develops dangerous mechanical problems, all hell breaks loose in business class. Here we meet an amazing assortment of Almodóvarian characters, including a psychic, a chic dominatrix, a crooked businessman and a soap star. Tending to their peculiar, increasingly frantic needs are a trio of high camp stewards who react to the crisis in ways only the mischievous director could dream up--like lacing their passengers drinks with mescaline. Fasten your seat belts as this bawdy, pointed farce takes us up, up and away. Opens on Friday june 28th in New York & Los Angeles…!!! SEATTLE SEATTLE INTERNATIONAL FILM FESTIVAL For more information go to http://www.siff.net/festival-2013/films-a-to-z?country=Spain Yesterday Never ends Sat, June 1 – 5:30 PM at SIFF Cinema Uptown, 511 Queen Anne Avenue N Dir. Isabel Coixet - Spain|2013|108 min. -
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. -
La Vida Secreta De Las Palabras, Galardonada Con El XI Premio Cinematográfico José María Forqué
EGEDA BOLETIN 42-43 8/6/06 11:44 Página 1 No 42-43. 2006 Entidad autorizada por el Ministerio de Cultura para la representación, protección y defensa de los intereses de los productores audiovisuales, y de sus derechos de propiedad intelectual. (Orden de 29-10-1990 - B.O.E., 2 de Noviembre de 1990) La vida secreta de las palabras, galardonada con el XI Premio Cinematográfico José María Forqué Una historia de soledad e incomunicación, La vida secreta de las palabras, producida por El Deseo y Mediapro y dirigida por Isabel Coixet, ha sido galardonada con el Premio José María Forqué, que este año ha llegado a su undécima edición. En la gala, celebrada en el Teatro Real el 9 de mayo, La vida secreta de las palabras compartió homenaje con el documental El cielo gira, que se llevó el IV Premio Especial EGEDA, y con el productor Andrés Vicente Gómez, galardonado con la Medalla de Oro (Foto: Pipo Fernández) (Foto: de EGEDA por el conjunto de su carrera. La gala tuvo como maestros de ceremo- cida por Maestranza Films, ICAIC y Pyra- vertirán a los creadores españoles en los nias a Concha Velasco y Jorge Sanz, y con- mide Productions, y dirigida por Benito más protegidos de Europa. tó con la actuación musical del Grupo Sil- Zambrano; Obaba, producida por Oria ver Tones, que interpretó temas de rock Films, Pandora Film y Neue Impuls Film, y Por su parte, el presidente de EGEDA, En- and roll de los años 50 y 60. Esto supone dirigida por Montxo Armendáriz, y Prince- rique Cerezo, entregó la Medalla de Oro una novedad en el escenario del Teatro sas, producida por Reposado PC y Media- de la entidad al veterano productor An- Real, pues es la primera vez que acoge este pro, y dirigida por Fernando León de Ara- drés Vicente Gómez en reconocimiento “a género musical. -
Adelina Cüberyan V. Fürstenberg
Adelina Cüberyan v. Fürstenberg Founder of ART for The World, curator and film producer Member of the advisory board (ARTPORT_making waves) Website: www.artfortheworld.net Adelina Cüberyan v. Fürstenberg, Swiss citizen, Armenian origin, is a renowned international art curator and independent film producer. A pioneer in the field, she is known for broadening contemporary art and cinema to include a multicultural approach. Founder and the first Director of the Centre d’Art Contemporain of Geneva and Director of Le Magasin at the Centre National d’Art Contemporain of Grenoble, and its School of Curators awarded by the Jury of the Biennale of Venice in 1993. In 1995 she founded ART for The World – an NGO associated to UNDPI (the UN Department of Public Information) and partner of SESC Regional Direction Sao Paulo, Brazil. The NGO was created in the context of the 50th anniversary of the UN and the art exhibition Dialogues of Peace. Its goals are the dissemination of projects and links between contemporary culture and Human Rights. During the past years, she has been invited to organize numerous large-scale art projecte around the world for the UN and its agencies, among them : In 1998-99 The Edge of Awarenss, to mark the 50th anniversary if WHO in Geneva, NY, Sao Paulo and New delhi and Milan ; in 2000 P&T the 50t annovesary of HCR. In 2008 she was appointed by UNHCR and the European Commission to produce « Stories on Human Rights », 22 short fiction films for the 60th Anniversary of the Universal Declaration of Human Rights, in 2010 followed by with the series of seven other short films « Then And Now, Beyond Borders and Differences », commissioned by the UN Alliance of the Civilizations and the Council of Europe. -
CURRICULUM VITAE Name: María Camí-Vela University
CURRICULUM VITAE Name: María Camí-Vela University Address: University of North Carolina-Wilmington 601 S. College Rd. Wilmington, NC 28403-5954 Tel: (910)962-3342 E-mail: [email protected] I. EDUCATION Ph.D. in Spanish Literature Spring 1995 Romance Languages and Literatures University of Florida Dissertation: La búsqueda de la identidad en la obra de Carme Riera (The Search for Identity in Carme Rieras’s Narrative) Summer 1993 Universidad Complutense Madrid, Spain Course title: “Mujeres Creadoras” (“Women Creators”) M.A. in Spanish Fall 1989 Romance Languages and Literatures University of Florida Master’s Thesis: El feminismo en la obra periodística de Emilia Pardo Bazán (Feminism in Emilia Pardo Bazán’s Journalistic Works) B.A. in Spanish Fall 1986, Romance Languages and Literatures University of Florida Other Studies Fall 1975-Fall 1976 Universidad de Murcia, Spain II. TEACHING EXPERIENCE Professor: 2007- Associate Professor: 2003- 2007 Department of Foreign Languages and Literatures, U. of North Carolina -Wilmington. Assistant Professor: 1997-2003 Department of Foreign Languages and Literatures, U. of North Carolina -Wilmington. III.PUBLICATIONS AND ACADEMIC PRESENTATIONS A. Publications Books Mujeres detrás de la cámara: Entrevistas con cineastas españolas 1990-2004. (Women Behind the Camera: Interviews with Spanish Women Filmmakers 1990-2004.) Madrid: Madrid/Ocho y Medio, 2005. Mujeres detrás de la cámara: Entrevistas con cineastas españolas de la década de los 90. (Women Behind the Camera: Interviews with Spanish Women Filmmakers of the 90’s.) Madrid: Festival de Cine Experimental de Madrid/Ocho y Medio, 2001. La búsqueda de la identidad en la obra literaria de Carme Riera. (The Search for Identity in the Narrative Works of Carme Riera.) Madrid: Pliegos, 2000. -
Empowered Teachers
MARKING THE 60 YEARS OF THE UDHR AROUND THE WORLD A YEAR LONG COMMEMORATION The UN’s Annual Student Conference on Human Rights, 2008 - The conference focused on the links The year long commemoration of the 60th anniversary between Climate Change and Human Rights and for of the Universal Declaration of Human Rights (UDHR) the first time a parallel student conference was was intended to be as inclusive as possible, organized in Mexico with the participation of students highlighting the role of people everywhere as the throughout Latin America. custodians and beneficiaries of the UDHR. The commemoration, spearheaded by the Secretary Worldwide Exhibits - Throughout the year exhibits were General of the United Nations, encompassed the UN used to illustrate the rights enshrined in the UDHR. The family, the public and private sectors, media, schools, “Sketching Human Rights” exhibit, featuring a collection artists and other representatives of civil society of thought-provoking cartoons from a range of throughout the world. Beginning on Human Rights Day international cartoonists on the subject of human rights, 2007, United Nations offices around the globe held a opened in New York before travelling to Brussels, diverse range of creative events on different aspects of Vienna, Paris, and Geneva. Patras in Greece was home human rights. Here is a sample of their activities: to an international painting exhibit on human rights while Brazzaville, Congo and Yerevan, Armenia both hosted Interactive Dialogues on Human Rights - A monthly, local exhibitions. A photographic exhibit highlighting interactive series of panel discussions at UN historical perspectives of as well as current challenges Headquarters in New York, on topics ranging from new to human rights was shown in Prague, Czech Republic. -
Spaniwood? English Language Spanish Films Since the 1990S Cristina Sánchez-Conejero University of North Texas
Studies in 20th & 21st Century Literature Volume 33 Issue 2 Identities on the Verge of a Nervous Article 8 Breakdown: The Case of Spain 6-1-2009 Spaniwood? English Language Spanish Films since the 1990s Cristina Sánchez-Conejero University of North Texas Follow this and additional works at: http://newprairiepress.org/sttcl This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 4.0 License. Recommended Citation Sánchez-Conejero, Cristina (2009) "Spaniwood? English Language Spanish Films since the 1990s," Studies in 20th & 21st Century Literature: Vol. 33: Iss. 2, Article 8. https://doi.org/10.4148/2334-4415.1705 This Article is brought to you for free and open access by New Prairie Press. It has been accepted for inclusion in Studies in 20th & 21st Century Literature by an authorized administrator of New Prairie Press. For more information, please contact [email protected]. Spaniwood? English Language Spanish Films since the 1990s Abstract Is there such a thing as “Spanish identity”? If so, what are the characteristics that best define it? incS e the early 1990s we have observed a movement toward young Spanish directors interested in making a different kind of cinema that departs markedly from the lighthearted landismo of the 70s and, later, the indulgent almodovarismo of the 80s. These new directors—as well as producers and actors—are interested in reaching out to wider audiences, in and outside of Spain. The internationalization they pursue comes, in many cases, with an adoption of the English language in their works. This multicultural cinema presents a dilemma: what characteristics define a S“ panish” movie? This study explores and argues for the use of the terms “world cinema” and “glocal cinema” in favor of outdated notions of “national cinema” while pointing out the need for defining clear notions of the new, plural and inclusive forms of Spanishness evident in films today. -
60 Years of the Universal Declaration of Human Rights: the Defenders Take the Floor
CONFERENCE: 60 Years of the Universal Declaration of Human Rights: the Defenders Take the Floor European Parliament Brussels 7-8 October, 2008 “So each time I go there, people tell me things. They do so in the sincere hope that, if I record what is actually happening, it will lead to change, to peace. Obviously, I am not to blame for what is going on, but the more I think about it, the more I would be betraying these people if I walked away. The only thing to do is to take this to the bitter end, so that no one can say that when things became difficult, I ran away.” Anna Politkovskaya Rama Yade, French Minister of State responsible for Foreign Affairs and Human Rights Executive Summary The inter-institutional initiative launched by the European Commission, the European Parliament and the United Nations to celebrate the 60th Anniversary of the Universal Declaration of Human Rights (UDHR) reaffirmed and illustrated its recognised universality and transcendence. Divided into two panels, one focussing on the instruments for the protection of Human Rights and the other on the right to freedom of expression, the conference highlighted the singular admiration for all those working for other's rights. Tuesday 7 October Opening Speeches Mr Jacques Barrot, Vice-President of the European Commission, opened the conference by underlying the importance of the 60th anniversary of the Universal Declaration of Human Rights (UDHR) and the 10th anniversary of the Human Rights Defenders (HRDs) Declaration as cornerstones of the defence of human rights worldwide. He recalled that the EU has aligned itself with the protection of those defending human rights through the approval of the EU Guidelines on HRDs. -
Feministas Unidas, Inc. Newsletter Fall 2019 Vol
FEMINISTAS UNIDAS, INC. NEWSLETTER FALL 2019 VOL. 39.2. Enriqueta Zafra Ryerson University MARIA VAN LIEW Zecchi, Barbara, coord. Tras las lentes de Isabel Coixet: Cine, compromiso y feminismo. Publicaciones de la Universidad de Zaragoza, 2017. 495 pp. Who is Isabel Coixet and where and how to place her work? This edited volume pursues these questions via twenty-two Spanish language selections focusing on the feature-length films, documentaries, writings, interviews, and self-image produced by the Barcelona-born director. In the prologue, Coixet speaks of a sense of “vulnerability” under such close scrutiny and her awe of “una mirada plural, apasionada y entregada” on the part of the twenty-three contributors and the editor, as well as her appreciation for the opportunity to “revisit” what she has done up until “now,” referring to 2014. Coixet has remained prolific since the appearance of this volume with three feature-length films, numerous documentaries, and other short projects in circulation between 2015-2019, attesting to the benefit of said volume in understanding the underpinnings of an already vast and valuable opus in constant state of expansion. Two initial features are Zecchi’s twenty-page comprehensive introductory overview followed by a translated essay (originally published in English by Nuria Triana Toribio in 2006), which set a tone recognizing Coixet as an early proponent of a form of post-national cinema that defies categorizing her work per se as “Spanish” or “Catalan.” As Toribio observes, “[s]us películas indican que se pueden esquivar algunas etiquetas hasta cierto punto, eligiendo en su caso las estrategias exitosas de los autores mediáticos…” (63).