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Spanish 371–The Cinema of Spain: Nation, Exile, and Social Marginalization
WILLIAM PATERSON UNIVERSITY OF NEW JERSEY DEPARTMENT OF LANGUAGES AND CULTURES I. Course title: SPANISH 371–THE CINEMA OF SPAIN: NATION, EXILE, AND SOCIAL MARGINALIZATION, Prerequisites: Span 221, Span 250. Credits: 3 Winter, 2011 Level: Undergraduate Dr. Bruce Williams [email protected] II. Course description: Course presents an introduction to the cinema of Spain from the political allegories and exile films of the Franco era to the cultural renaissance of the 1980s. Cinema is viewed as an inherent part of twentieth-century Peninsular literary/cultural production. Special attention is devoted to the unique situations of Spanish history which render the country’s cinema considerably distinct from other European national traditions. Topics to be discussed include the representation of nation in film, surrealist visions, women and cinema, and minority discourses. Course taught in Spanish. III. Course objectives: 1. Course will present an in-depth critical overview of theoretical approaches common in the study of Peninsular Spanish cinema. 2. It will explore historical factors which led to the evolution of a unique sense of “nation” in this cinema. 3. It will examine the notion of exile cinema. 4. Course will foster interpretative skills which facilitate an understanding of the development of cinema in Spain from the Franco dictatorship to the movida of the 1980s. 5. It will examine Spain’s minority cinemas (Galicia, Basque Country, Catalunya) and will situate these divergent discourses within the broader context of world cinema. IV. Student learning outcomes: 1. Students will demonstrate ability to contextualize Spanish cinema within the broader scope of world cinema. 2. They will discuss orally and in writing principal directors (Buñuel, Saura, Almodóvar, Bigas Luna). -
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. -
Belonging Beyond Borders: Cosmopolitan Affiliations in Contemporary Spanish American Literature
University of Calgary PRISM: University of Calgary's Digital Repository University of Calgary Press University of Calgary Press Open Access Books 2021-01 Belonging Beyond Borders: Cosmopolitan Affiliations in Contemporary Spanish American Literature Bilodeau, Annik University of Calgary Press Bilodeau, A. (2021). Belonging Beyond Borders: Cosmopolitan Affiliations in Contemporary Spanish American Literature. University of Calgary Press, Calgary, AB. pp. 1-267. http://hdl.handle.net/1880/113029 book https://creativecommons.org/licenses/by-nc-nd/4.0 Downloaded from PRISM: https://prism.ucalgary.ca BELONGING BEYOND BORDERS: Cosmopolitan Affiliations in Contemporary Spanish American Literature Annik Bilodeau ISBN 978-1-77385-159-4 THIS BOOK IS AN OPEN ACCESS E-BOOK. It is an electronic version of a book that can be purchased in physical form through any bookseller or on-line retailer, or from our distributors. Please support this open access publication by requesting that your university purchase a print copy of this book, or by purchasing a copy yourself. If you have any questions, please contact us at [email protected] Cover Art: The artwork on the cover of this book is not open access and falls under traditional copyright provisions; it cannot be reproduced in any way without written permission of the artists and their agents. The cover can be displayed as a complete cover image for the purposes of publicizing this work, but the artwork cannot be extracted from the context of the cover of this specific work without breaching the artist’s copyright. COPYRIGHT NOTICE: This open-access work is published under a Creative Commons licence. -
SPA 428 Otoño 2012 Line Number 75468 Martes Y Jueves: 15.00-16.15 José Prats Sariol
Change V -X **Disclaimer**ie F w e D r P This syllabus is to be used as a guideline only. The information provided is a summary of topics to be covered in the class. Information contained in this document such as assignments, grading scales, due dates, office hours, required books and materials may be from a previous semester and are subject to change. Please refer to your instructor for the most recent version of the syllabus. w Click to buy NOW! w m o w c .d k. ocu-trac SPA 428 Otoño 2012 Line number 75468 Martes y jueves: 15.00-16.15 José Prats Sariol LITERATURA HISPANOAMERICANA II (DEL MODERNISMO A LOS INICIOS DEL SIGLO XXI) SPANISH AMERICAN LITERATURE II (FROM MODERNISM TO PRESENT) Textbooks: Reader at The Alternative Copy Shop (Mill/10th Street) and Foster, David William, ed. Literatura hispanoamericana: una antología. New York: Garland, 1994. Juan Rulfo: Pedro Páramo (Bookstore). Description: Provide an introduction to contemporary Spanish American literature, from the fin-de- siècle Modernismo (late 19th C.), through the avant-gardes (1920s) and the neo-avant- garde (1960s), to the present postboom/postmodern developments, strategically focused on the latest literary currents, genres, authors, and works, as documented in the major cultural areas of Spanish America: 1. The Greater Caribbean and Central America. 2. Southern Cone and Chile. 3. Andean region. 4. Mexico and the US Southwest. Brazil is another independent area. Emphasis will be on the participants' reading and research, individual and in groups, and on development of appropriate critical discourse (the Reader offers substantial samples of critical writing and, also, a model for students' written work). -
Redirected from Films Considered the Greatest Ever) Page Semi-Protected This List Needs Additional Citations for Verification
List of films considered the best From Wikipedia, the free encyclopedia (Redirected from Films considered the greatest ever) Page semi-protected This list needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be chall enged and removed. (November 2008) While there is no general agreement upon the greatest film, many publications an d organizations have tried to determine the films considered the best. Each film listed here has been mentioned in a notable survey, whether a popular poll, or a poll among film reviewers. Many of these sources focus on American films or we re polls of English-speaking film-goers, but those considered the greatest withi n their respective countries are also included here. Many films are widely consi dered among the best ever made, whether they appear at number one on each list o r not. For example, many believe that Orson Welles' Citizen Kane is the best mov ie ever made, and it appears as #1 on AFI's Best Movies list, whereas The Shawsh ank Redemption is #1 on the IMDB Top 250, whilst Star Wars Episode V: The Empire Strikes Back is #1 on the Empire magazine's Top 301 List. None of the surveys that produced these citations should be viewed as a scientif ic measure of the film-watching world. Each may suffer the effects of vote stack ing or skewed demographics. Internet-based surveys have a self-selected audience of unknown participants. The methodology of some surveys may be questionable. S ometimes (as in the case of the American Film Institute) voters were asked to se lect films from a limited list of entries. -
List of Films Considered the Best
Create account Log in Article Talk Read View source View history Search List of films considered the best From Wikipedia, the free encyclopedia Main page This list needs additional citations for verification. Please Contents help improve this article by adding citations to reliable sources. Featured content Current events Unsourced material may be challenged and removed. (November Random article 2008) Donate to Wikipedia Wikimedia Shop While there is no general agreement upon the greatest film, many publications and organizations have tried to determine the films considered the best. Each film listed here has been mentioned Interaction in a notable survey, whether a popular poll, or a poll among film reviewers. Many of these sources Help About Wikipedia focus on American films or were polls of English-speaking film-goers, but those considered the Community portal greatest within their respective countries are also included here. Many films are widely considered Recent changes among the best ever made, whether they appear at number one on each list or not. For example, Contact page many believe that Orson Welles' Citizen Kane is the best movie ever made, and it appears as #1 Tools on AFI's Best Movies list, whereas The Shawshank Redemption is #1 on the IMDB Top 250, whilst What links here Star Wars Episode V: The Empire Strikes Back is #1 on the Empire magazine's Top 301 List. Related changes None of the surveys that produced these citations should be viewed as a scientific measure of the Upload file Special pages film-watching world. Each may suffer the effects of vote stacking or skewed demographics. -
Entrevista/Interview Written in the Margins: “Doing the Job Right”. an Interview with Elena Poniatowska.1
Vol. 8, No. 1, Fall 2010, 349-370 www.ncsu.edu/project/acontracorriente Entrevista/Interview Written in the Margins: “Doing the job right”. An interview with Elena Poniatowska.1 Pedro García-Caro University of Oregon A Carlos Monsiváis “…no me calienta ni el sol”’ Elena Poniatowska received an invitation from the Latin American Studies Program at the University of Oregon to deliver the annual 1 English translation by Pedro García-Caro. The original version in Spanish will appear in the journal Cartaphilus (Universidad de Murcia, Vol 7, 2010). García-Caro 350 Bartolomé de las Casas Lecture in May of 2010. Interviewing Elena Poniatowska, talking with her, creates an immediate feeling of deep familiarity that sustains the notion that literature and culture can help heal the world. Reading her works and meeting her are both equally satisfying confirmations that writing can be more potent and truthful than those well-known publishing schemes through which a multitude of writers endeavor to establish themselves as courtesans and hacks. One vaguely remembers the many arrogant writers, young and old, who are trapped in their looking-glass galleries of jealousy, recognition anxiety, disregard for critics and public fear, but they are summarily forgotten in the face of the real chronicler of a country and a century. Elena’s gaze, her memory, her word shine and show the profound empathic humanity with which she writes—a true humility that allows her to disappear in order to give life to others, to help and rescue them. For Poniatowska, the people who inhabit her writings are the intended recipients of prizes and public recognition. -
A Feminist Representation in Pakistani Cinema: a Case Study of “Bol” the Movie
New Media and Mass Communication www.iiste.org ISSN 2224-3267 (Paper) ISSN 2224-3275 (Online) Vol.43, 2015 A Feminist Representation in Pakistani Cinema: A Case Study of “Bol” The Movie Aqsa Iram Shahzadi Assistant Professor Department of Communication Studies, Bahauddin Zakariya University Multan Abstract The Study analyses the Pakistani movie ‘Bol’ particularly from the feminist perspective. Qualitative discourse analysis is the method used by the researcher. To analyze feminist ideology five categories (realization of self, concept of patriarchy, challenging patriarchal ideologies, male chauvinism and reproductive rights) are constructed. Findings show that the movie is based on liberal feminist ideologies. The analysis also finds the fact that creation of ideologies and distribution of power is done through language. Study explores the ways through which ideologies are constructed and manipulated through media. Keywords: Liberal Feminism, Discourse Analysis, Movie, Bol, Introduction The role of the media, in the modern world cannot be underestimated and media is considered as a tool for the production and dissemination of the ideology that serves the interests of the group/class that exercises economic and political control over it. Media occupies a strategic place in the game of power relation with in a social formation. Film is very important media, which can bring change in society. This is best source of entertainment yet is also used for information, education and as well as a tool of propaganda to make opinion or to converse the world opinion. Every movie in the world is made on some ideology shown as reality (Buckland 2011). Ideology means ideas that form the basis of an economic or political theory or that are held by a particular group of people or person (Oxford Dictionary). -
The Cinema of Spain
Cinesthesia Volume 3 | Issue 2 Article 4 5-1-2014 The ineC ma of Spain: An Overview Shae Spencer Grand Valley State University, [email protected] Follow this and additional works at: http://scholarworks.gvsu.edu/cine Part of the Film and Media Studies Commons Recommended Citation Spencer, Shae (2014) "The ineC ma of Spain: An Overview," Cinesthesia: Vol. 3 : Iss. 2 , Article 4. Available at: http://scholarworks.gvsu.edu/cine/vol3/iss2/4 This Article is brought to you for free and open access by ScholarWorks@GVSU. It has been accepted for inclusion in Cinesthesia by an authorized editor of ScholarWorks@GVSU. For more information, please contact [email protected]. Spencer: The Cinema of Spain The Cinema of Spain: An Overview In the 100-plus years since cinema was introduced to Spain, Spanish filmmakers and producers have faced staggering adversity. The climate was turbulent from nearly the beginning; Spain lost the last of its colonies just two years after the first motion pictures were shown in the homeland. In the next half century, a monarchy-approved dictatorship would rise and fall, the authority of the monarchy itself would collapse, a civil war would ravage the country, and a repressive Fascist dictatorship would rise. Spanish cinema has never quite equaled the output or influence of other western European nations like France or Italy, but in recent years, film scholars and critics have taken a greater interest in the study and appraisal of Spanish film. Since the 1970s, Spanish films have benefited significantly from increased international attention, culminating in recognition by premier festivals and the American Academy of Motion Picture Arts and Sciences. -
Fernando Del Paso Morante 05/12/2013
MENSAJE DEL FERNANDO DEL PASO MORANTE, PRONUNCIADO POR EL ESCRITOR ÁNGEL ORTUÑO, EN LA CEREMONIA SOLEMNE EN QUE LA UNIVERSIDAD DE GUADALAJARA LE ENTREGA EL TÍTULO DE DOCTOR HONORIS CAUSA. Paraninfo Enrique Díaz de León Guadalajara, Jalisco a 5 de diciembre de 2013 Señor Rector General de la Universidad de Guadalajara, Maestro Itzcóatl Tonatiuh Bravo Padilla; Dr. Hugo Gutiérrez Vega; Lic. José Alfredo Peña Ramos; Secretario General de la Universidad de Guadalajara; Dr. Héctor Raúl Solís Gadea; Rector del Centro Universitario de Ciencias Sociales y Humanidades; Doctora María Guadalupe Sánchez Robles; Jefa del Departamento de Letras del Centro Universitario de Ciencias Sociales y Humanidades; Señores Rectores de los Centros Universitarios; Queridos colegas; Señora y señores: Ha habido cuatro universidades en mi vida: La UNAM–Universidad Nacional Autónoma de México– donde estudié el Bachillerato de Ciencias 1 Biológicas, en el bello y célebre edificio de San Ildefonso donde tuve el honor de representar a mis condiscípulos de la preparatoria nocturna ante el Consejo Universitario, conocí a la que es hoy mi esposa Socorro compañera de toda mi vida y obtuve un promedio de 9.5. Allí también pagué las materias necesarias para obtener el bachillerato de ciencias económicas, en vista de que me di cuenta que no podía estudiar medicina y estar casado al mismo tiempo y decidí estudiar economía en la recién inaugurada facultad de economía de la Ciudad Universitaria para obtener un empleo adecuado a mis necesidades. Destripé después de dos años, cuando al ingresar como copy writer en una agencia de publicidad, mi salario subió hasta las nubes; la segunda universidad es la de Iowa, en la que participé dos años escolares en el International Writing Program compartiendo el amor a la literatura y a la cocina con escritores y sus esposas de todos el mundo: América Latina, Europa, Asia y África. -
Macaulay Honors College the Latin American She-BOOM Carmen Boullosa Spring 2021
Macaulay Honors College The Latin American She-BOOM Carmen Boullosa Spring 2021 During the late sixties and seventies, the global literary world’s attention was captured by a group of relatively young Latin American authors - Colombian Gabriel García Márquez, Peruvian Mario Vargas Llosa, Argentinian Julio Cortázar and Mexican Carlos Fuentes. Their success was so enormous that it drew other prodigiously talented Latin American authors into their orbit. José Donoso, Cabrera Infante, Severo Sarduy, and Carlos Onetti, among others, also received international visibility and demand. Their prose was by no means uniform. Each adopted distinctive styles. But their work and lives had sufficient overlaps that they were collectively considered a cultural and political phenomenon. They came to be called the BOOM – the “Latin American BOOM writers" – in part for their explosive arrival on the literary scene. And they shared something else, something that was crucial to their work and its reception, though it went all but universally unremarked on. They were all men. But during the same period of time, Latin American women authors were also producing a spectacular range of literary works. Elena Garro, Rosario Castellanos, Luisa Valenzuela, María Luisa Bombal, Silvina Ocampo, and other women writers of that calibre, were active in those years. Why, then, were they not considered part of the BOOM? Why were none of them picked up by the same publishers, literary critics, and readers who were eagerly enjoying the male Latin American "wave"? Why weren’t they "in"? In this course, we will begin by exploring the relevance of gender to answering this question – briefly investigating the macho nature of what I will call (as a droll analytic device), the HE-BOOM. -
ABSTRACT a Cognitive Poetic Exploration of Elena Poniatowska's
ABSTRACT A Cognitive Poetic Exploration of Elena Poniatowska’s La noche de Tlatelolco Megan Boyd, M.A. Mentor: Alexander McNair, Ph.D. This study of Elena Poniatowska’s La noche de Tlateloco is based on a cognitive poetic approach to explore readers’ perceptions of the work. It affirms both the historical veracity and literary ingenuity of the text by highlighting literary elements and asserting that they strengthen rather than weaken readers’ historical understanding of the censured collective trauma. This study applies theories of readers’ literary perceptions to investigate the work as a sensorially immersive experience. It analyzes the emotional atmospheres in “Ganar la calle” and “La noche de Tlatelolco” by highlighting cognitive qualities of emotions within the text. It then postulates that the creative presentation of La noche draws readers’ attention to historical silences and immerses them into parts of the past often overlooked by conventional historiography. Hold for signature page. We will help you place your unsigned signature page here. Only unsigned copies are uploaded to ensure that a person’s signature is not released on the internet. Copyright © 2020 by Megan Boyd. All rights reserved TABLE OF CONTENTS ACKNOWLEDGMENTS .................................................................................................. v DEDICATION ................................................................................................................... vi CHAPTER ONE ................................................................................................................