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EQUIPO CINES DEL SUR Director_José Sánchez-Montes I Relaciones institucionales_Enrique Moratalla I Directores de programación_Alberto Elena, Casimiro Torreiro I Asesores de programación_María Luisa Ortega, Esteve Riambau I Programador Transcine y cinesdelsur.ext_ ÍNDICE José Luis Chacón I Gerencia_Elisabet Rus I Auxiliar administración_Nuria García I Documentación Audiovisual Festival_Jorge Rodríguez Puche, Rafael Moya Cuadros I Coordinador Producción_Enrique Novi I Producción_Clara Ruiz Molina, Daniel Fortanet I Coordinadora de comunicación, difusión y prensa_María Vázquez I Auxiliares de comunicación, difusión y prensa_ Ramón Antequera, Anne Munzert, Ana Cabello, José Manuel Peña I Jefa de prensa_Nuria Díaz I Comunicación y prensa_Estela 7 Presentación_Welcome Hernández, Isabel Díaz, Neus Molina I Márketing_José Ángel Martínez I Publicaciones_Carlos Martín I Catálogo_Laura 11 Jurado 2010_Jury 2010 Montero Plata I Gestión de programación, tráfico de copias y material promocional_Reyes Revilla I Auxiliares de programación, tráfico de copias y material promocional_Zsuzsi Gruber, Frederique Bernardis I Relaciones con la industria_Nina Frese I Auxiliar relaciones con la industria_Bram Hermans I Relaciones públicas_Magdalena 19 PROGRAMACIÓN_Programming Lorente I Coordinador de invitados_Enrique Novi I Invitados_Marichu Sanz de Galdeano, Toni Anguiano I Asesor Consejería de Cultura_Benito Herrera I Protocolo_María José Gómez I Web_Enrique Herrera, María Vázquez I 21 Secciones Oficial e Itinerarios_Official and Itineraries Sections Coordinador de traducción e interpretación_Pedro Jesús Castillo Ortiz I Traducción e interpretación_Pedro 24 Sesión Inaugural_Opening Session Jesús Castillo, Alexis Weninger, Julie Boéri, José María Conde Benítez I Secretario Jurado Oficial_Adriana Fernández I Secretario Jurado NETPAC_Carles Civit I Imagen del cartel_Ángel Lozano I Diseño del premio_ 26 Sesión de Clausura_Ending Session Luis Jarillo I Cabecera_LZ Producciones I Comisario exposición : desbordamiento valdeomar_Centro 29 Sección Oficial_Official Section Guerrero I Comisario exposición Enfoques_Centro Andaluz de la Fotografía I Más Factor Humano_Antonio 51 Itinerarios_Itineraries José Millán I Voluntarios_José Ángel Martínez I Jefe técnico de proyecciones_José Antonio Caballero Soler I Equipo técnico de proyecciones_José Antonio Caballero Martín, José Domingo Raya, Carlos 67 Retrospectiva: Cuarenta años de cine filipino, 1970-2010_ Montes, Raúl Morales I Diseño_Catálogo > Ángel Lozano, Juan Gómez, Pauline Lozano, Juan González, Retrospective: Forty Years of Filipino Film, 1970-2010 José Alberto Rodríguez, Lucía Moreno I Subtítulos_Sublimage, Marta Lima, Manuel Soubiès, Nouchine Mote Bassem I Diseño Web_Catálogo I Gestión copias_Cayco I Depósito Legal_GR 2647-2010 95 Pantalla Abierta_Open Screen 99 Mediterráneos_Mediterranean EL LEGADO ANDALUSÍ 109 Netpac @ 20 Directora_Inmaculada López I Relaciones institucionales, internacionales y protocolo_ Juan Manuel Cid I Publicaciones_Inmaculada Cortés I Comunicación_Julia Saiz-Pardo I 115 Sesiones Especiales_Special Sessions Administración_Ana Ruiz Valera, Pilar López López, Inmaculada Pretel 117 > Homenaje a Jafar Panahi_Tribute to Jafar Pahani COMITÉ INSTITUCIONAL 121 > Memoria del Sur_Memories of the South Consejería de Cultura de la Junta de Andalucía 129 > Transcine Diputación de Granada 135 > Más Factor Humano_More Human Factor Ayuntamiento de Granada Patronato de la Alhambra y el Generalife 143 > Extraño Tanto Mar_Strange so Much Sea Universidad de Granada 151 > cinesdelsur.ext Textos_Centro Guerrero, José Luis Chacón, Alberto Elena, Nina Frese, Juan Guardiola, Carlos Martín, Antonio José Millán, Laura Montero, José Sánchez-Montes, Casimiro Torreiro 159 PUBLICACIONES_PUBLiCaTionS Agradecimientos_Ángel Aguilera, Cristina Álvarez, Pilar Aranda, Abbas Arnaout, Mª Dolores Asensio, Amal Badr, Fernando Bueno, Pablo G. Casado, Francisco 163 ACTIVIDADES PARALELAS_ParaLLEL aCTiViTiES Cuenca, Kim Dong Ho, Escuela Internacional de Protocolo, Javier H. Estrada, Jesús 165 Enfoques_Approaches Fernández, Fundación Euroárabe, Miguel Galadí, Enrique Gámez, Yolanda García Parrado, Juan Guardiola, Juan Güeto, Jesús Hidalgo, José Antonio Hurtado, 169 Cines del Norte, Cines del Sur_Cinemas of the North, Cinemas of the South Roberto López, Soledad López, Mariano Maresca, José Millán, Esaú Moreno 171 Southern Film Festivals Camacho, Nicolás Navarro, Enrique Ojeda, Jerónimo Páez López, Jaime Pena, 175 : desbordamiento de val del omar_: val del omar Overflow Mila Peregrín, Amal Ramsis, Ashley Ratnavibhushana, Manuela Reina, Ana Rejón, María Paz Rey, Nuria Rico, Moisés Salama, Domingo Sánchez Mesa, Manuela Santiago Martín, Rima Shermohammadi, Rosa Torres, Aruna 185 REGLAMENTO 2010_rEgULaTionS 2010 Vasudev, Elena Vilardell, Lucy Virgen, Sonia Ziadi, María Zumárraga 7 | PRESENTACIÓN WELComE PRESENTACIÓN PAULINO Plata Consejero de Cultura de la junta de andaluCía_Minister of Culture of the regional governMent of andalusia l Festival de Granada Cines del Sur, enciende he Granada Film Festival Cines del Sur is re- de nuevo sus proyectores para iluminar toda vving up its film projectors to illuminate the E la ciudad con luces y colores de mundos leja- T entire city with lights and colours from distant nos, pero cada vez menos desconocidos gracias a los worlds, places that may be far away from here but that efectos de la globalización. are better understood than ever before thanks to the effects of globalisation. La Junta de Andalucía mantiene un año más su apuesta por un proyecto que no entiende de fronte- The Regional Government of Andalusia has once ras ni distancias cuando se trata de hablar de arte, again offered its support to a project that knows no un proyecto hecho realidad gracias al apoyo de to- borders or distance when the subject at hand is art, a das las instituciones que colaboran con nosotros project that has been made possible by all the institu- con entusiasmo. tions that enthusiastically collaborate with us. En esta cuarta edición, volveremos a disfrutar de pelí- In this fourth edition, we will again enjoy films pre- culas inéditas que provienen de países que están fue- viously unseen in Spain that come from countries ra de los grandes centros de producción. Venidas de outside the large production centres. They come from Asia, África o América Latina, desgranan historias que Asia, Africa and Latin America, and they tell stories nos aproximan a vidas muy diferentes a las nuestras, that give us a glimpse of lives very different from our pero que tienen como eje los grandes temas comunes own, but that share the same essence, the central the- a todo ser humano. mes common to all humanity. Las secciones habituales del Festival se ven enriqueci- The Festival’s usual sections are enriched this year by das este año con una completa retrospectiva del cine a complete retrospective of Filipino film from the last 8 9 | | filipino de las últimas cuatro décadas. Además, el en- four decades. In addition, the meeting of Southern cuentro de la Plataforma de Festivales del Sur, las me- Film Festivals, roundtable discussions, seminars and sas redondas, los seminarios y los debates aportan una debates will contribute reflections that are increasin- reflexión especialmente necesaria en estos tiempos. gly necessary in our times. PRESENTACIÓN PRESENTACIÓN PRESENTACIÓN Esta propuesta de aunar cine y cooperación ha tenido The Festival’s blend of film and co-operation has been WELComE una magnífica acogida por parte del público en sus very favourably received by audiences in its first three tres ediciones iniciales. Con esta nueva entrega el editions. With this new edition, the event continues JOSÉ SÁNCHEZ-MONTES direCtor del festival de granada Cines del sur_direCtor of the granada filM festival Cines del sur certamen prosigue su proceso de maduración y se along its path to maturity and opens itself up to new abre a nuevos espacios, ofreciendo extensiones en la spaces, offering extensions in the province so as to provincia con objeto de incorporar más espectadores. reach more and more viewers. onsolidar un festival de cine es una tarea difí- aking a film festival strong is no easy task. cil. Siempre decimos que el Festival de Grana- We always say that the Granada Film Fes- En algunos países, ser cineasta puede convertirse en In some countries, filmmakers are at risk for wanting to C da Cines del Sur es todavía demasiado joven M tival Cines del Sur is still too young to feel un riesgo cuando se pretende ejercer la libertad con- exercise their freedom and talk about the difficulties faced para sentirse firme, aunque los datos nos dan muchos solid, although the figures give us plenty of reasons tando las penurias de los compatriotas o la opresión by their fellow countrymen or the oppression of reigning motivos para mantener la esperanza de situar definiti- to hope that this event will become a permanent event del poder. Andalucía ofrece en Cines del Sur un espa- powers. With Cines del Sur Andalusia offers a space for free- vamente este evento en el calendario de la ciudad y en on the city’s calendar and will be among the most im- cio de libertad y cultura, de diversidad y convivencia. dom and culture, for diversity and peaceful co-existence. el de los festivales de referencia internacional. portant international festivals. La asistencia de público, la programación, los pre- Audience attendance, programming, budget alloca- supuestos, los invitados, todos los años el ciclo se tions, special guests... with every new edition the cy-
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  • Hd-Sample Article

    Hd-Sample Article

    HUMANITIES DILIMAN (JULY-DECEMBER 2013) 10:2, 85-105 T.R. Quiling Jr. Projecting Homes: Domestic Spaces in Three Filipino Films Tito R. Quiling Jr. University of the Philippines Diliman ABSTRACT The house is a fundamental space for a character’s consciousness, and this structure is a familiar image in Filipino films. This particular space as a setting in which the narrative and the characters are able to move in, is essential. This paper analyzes the influence of domestic spaces and the characteristics of home, which correspond to the characters’ consciousness and the narrative. These are presented in the selected films: Oro, Plata, Mata (1982) by Peque Gallaga, “Hellow, Soldier,” the second episode in Lino Brocka’s Tatlo, Dalawa, Isa (1975), and Kisapmata (1981) by Mike De Leon. The method for assessment consists of three parts: (1) the background in which the films are set, (2) the influence of the house using Gaston Bachelard’s notion of the house in The Poetics of Space (1994) as a framework, (3) and the behavior of the characters as portrayed in the films. The significance of domestic spaces to a character’s experience is illustrated in the selected texts. Keywords: Philippine cinema, domestic space, house, film, architecture INTRODUCTION Viewers go to movie theaters for entertainment, to distract themselves from the troubled tones of daily life. For the past 115 years, Filipinos have been going to the movies, fascinated by the lifelike images onscreen (Quirino 10). Alternatively, cinema lends itself to the formation of reality. Film productions are derived from everyday situations, which are either highlighted by their simplicity or greatly dramatized through the convincing performances of the actors.