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Durham E-Theses
Durham E-Theses Pulling focus: New perspectives on the work of Gabriel Figueroa Higgins, Ceridwen Rhiannon How to cite: Higgins, Ceridwen Rhiannon (2007) Pulling focus: New perspectives on the work of Gabriel Figueroa, Durham theses, Durham University. Available at Durham E-Theses Online: http://etheses.dur.ac.uk/2579/ Use policy The full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that: • a full bibliographic reference is made to the original source • a link is made to the metadata record in Durham E-Theses • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders. Please consult the full Durham E-Theses policy for further details. Academic Support Oce, Durham University, University Oce, Old Elvet, Durham DH1 3HP e-mail: [email protected] Tel: +44 0191 334 6107 http://etheses.dur.ac.uk Pulling Focus: New Perspectives on the Work of Gabriel Figueroa by Ceridwen Rhiannon Higgins University of Durham 2007 Submitted for Examination for Degree of PhD 1 1 JUN 2007 Abstract This thesis examines the work of Mexican cinematographer Gabriel Figueroa (1907 -1997) and suggests new critical perspectives on his films and the contexts within which they were made. Despite intense debate over a number of years, auteurist notions in film studies persist and critical attention continues to centre on the director as the sole giver of meaning to a film. -
Rumberas and Ficheras Cinema: Two Alternative Sides of the Same Coin
ISSN electrónico: 2172-9077 DOI: https://doi.org/10.14201/fjc202020163180 EL CINE DE RUMBERAS Y FICHERAS: DOS CARAS ALTERNATIVAS DE UNA MISMA MONEDA Rumberas and Ficheras Cinema: Two Alternative Sides of the Same Coin Dra. Silvana FLORES Investigadora. Universidad de Buenos Aires, Argentina E-mail: [email protected] https://orcid.org/0000-0003-0991-029X Fecha de recepción del artículo: 10/01/2020 Fecha de aceptación definitiva: 18/02/2020 RESUMEN A través de este artículo, estableceremos un estudio comparado sobre las figuras de las rumberas y las ficheras, en el contexto de los correspondientes films en los que fueron protagonistas, para dar a entender las diferencias y continuidades que estos personajes han ofrecido al cine mexicano a lo largo de las décadas. Para ello también analizaremos cómo funcionan los rasgos genéricos de ambas vertientes en dos películas prototípicas de aquellas épocas, Víctimas del pecado (Emilio Fernández, 1951) y Bellas de noche (Las ficheras)(Miguel M. Delgado, 1975), realizadas bajo la égida de la familia de productores Calderón. De ese modo, evidenciaremos que más allá de las distancias existentes entre ambas clases de films existe un eje que atraviesa la historia del cine mexicano en pos de la descripción de los espacios escabrosos del arrabal y el cabaret, en donde la estigmati- zación aleccionadora va cediendo lugar progresivamente a una mirada más naturalizada y superficial sobre los tópicos en ellas desplegados. Palabras clave: rumberas; ficheras; México; cine; transnacionalidad. ABSTRACT In this article, we will establish a comparative study of the figures of the rumberas and ficheras in the context of the films starred by them, in order to observe the differences and continuities they offered to Mexican cinema through dec-ades. -
Spanish NACH INTERPRET
Enrique Guzman 100 kilos de barro 152009 José Malhoa 24 Rosas 136212 José Figueiras A Cantar O Tirolês 138404 Jose Velez A cara o cruz 151104 Anabela A Cidade Até Ser Dia 138622 Juanes A dios le pido 154005 Ana Belen y Ketama A gritos de esperanza 154201 Gypsy Kings A mi manera 157409 Vicente Fernandez A mi manera 152403 Xutos & Pontapés A Minha Casinha 138101 Ruth Marlene A Moda Do Pisca Pisca 136412 Nilton Cesar A Namorada Que Sonhei 138312 Roberto Carlos A Namoradinha De Um Amigo M138306 Resistência A Noite 136102 Rui Veloso A Paixão 138906 Alejandro Fernandez A pesar de todo 152707 Son By Four A puro dolor 151001 Ednita Nazario A que no le cuentas 153004 Cabeças NoAr A Seita Tem Um Radar 138601 Tony Carreira A Sonhar Contigo 138214 Alejandro Fernandez Abrazame 151401 Juan Gabriel Abrazame muy fuerte 152303 Enrique Guzman Acompaname 152109 Rita Guerra & Beto Acreditar 138721 Javier Solis Adelante 152808 Carmen Miranda Adeus Solidão 138220 Quim Barreiros Aeroporto De Mosquito 138510 Mónica Sintra Afinal Havia Outra 136215 Mónica Sintra Afinal Havia Outra 138923 Quim Barreiros Água De Côco 138205 Augusto César Aguenta Coração 138912 José Augusto Aguenta Coração 136214 Tony Carreira Ai Destino 138609 Tradicional Alecrim Aos Molhos 136108 Mercedes Sosa Alfonsina y el mar 152504 Camilo Sesto Algo de mi 151402 Rocio Jurado Algo se me fue contigo 153307 Christian Castro Alguna vez 150806 Doce Amanhã De Manhã 138910 José Cid Amar Como Jesus Amou 138419 Irmãos Verdades Amar-Te Assim (Kizomba) 138818 Luis Miguel Amarte es un placer 150703 Azucar -
5Bfbeeac3776649f9b212fdfb326
5 Foreword raymond Walravens 9 opening and Closing Ceremony / awards 10 world Cinema Amsterdam Competition 20 mexiCan landsCapes Features 22 new mexiCan Cinema presentation paula Astorga riestra 24 postCards From a new mexiCan Cinema Carlos BonFil 42 mexiCan landsCapes shorts 46 speCial sCreenings (out oF Competition) 51 speCials 55 world Cinema Amsterdam open Air 62 world Cinema Amsterdam on Tour 63 we would like to thank 67 index Filmmakers A – Z 69 index Films A – Z 70 sponsors and partners Foreword From 12 through 22 August, the best independently world Cinema Amsterdam Competition produced films from Latin America, Asia and Africa The World Cinema Amsterdam competition programme will be brought together in one festival: World Cinema features nine truly exceptional films, taking us on a Amsterdam. fascinating odyssey around the world in Chad, South Africa, Thailand, Malaysia, Turkey, the Philippines, World Cinema Amsterdam is a new initiative by Argentina, Mexico and Nicaragua, and presenting work independent art cinema Rialto, which for many years both by filmmakers who have more than earned their has been promoting the presentation of films and spurs and debut films by young, talented directors. filmmakers from Africa, Asia and Latin America. Award winners from renowned foreign festivals such as Cannes or Berlin, and films that have captured our In 2006, Rialto started working towards the realization attention elsewhere will have their Dutch or Amsterdam of its long-cherished dream: to set up a festival of its premieres during the festival. own dedicated to presenting the many pearls of world The most recent productions by the following cinema. -
137 Juarez.Pdf
04 El emblemático actor de cine y teatro mexicano, asegura que a sus 94 años aún no piensa en el retiro ENTREVISTA Chihuahua.- la edad de 94 años el primer actor Ignacio López Tarso continúa trabajando en nuevos A proyectos, lo que hace recordar porque es una de las figuras más emblemáticas de la llamada Época de Oro del cine mexicano. Con más de 70 años de trayectoria artística en el REVISTANET.MX REVISTANET.MX teatro, cine y televisión, López Tarso es un hombre que ha tenido la oportunidad narrar muchas histo- rias de amor, dolor, pasión y risa, a través de los per- sonajes a los que les ha dado vida. Ha sido reconocido por su participación en gran- des obras como “Macario”, “El Hombre de Papel”, “Nazarín”, “El Gallo de Oro”, “Corazón Indomable”, “El Cartero”, “Aeroplanos”, “Un Picasso”, “El Padre”, solo por mencionar algunas. El primer actor asistió a la ciudad de Chihuahua para promocionar una de sus más recientes obras “El Cartero”, donde aprovechó la oportunidad para pla- ticar con Revista NET acerca de su vida, experiencias y puntos de vista sobre diferentes temas. Sonriente López Tarso recordó que hace más de 50 años tuvo la oportunidad de vivir por un tiempo en el estado de Chihuahua. Narró que hace más de 50 años realizó una pelícu- la en la Sierra Tarahumara, lugar donde vivió por un tiempo y tuvo la oportunidad de conocer los majes- tuosos paisajes que ofrece la Sierra Madre. “Tengo muy buenos recuerdos de Chihuahua, la Sierra Tarahumara es un deleite, el Río Urique, las Barrancas del Cobre y su gente tan hermosa como los tarahumaras que colaboraron tanto con la película y de ahí nació una amistad”, comentó al recordar su papel en “Tarahumara”una película de 1965 dirigida por Luis Alcoriza. -
Canciones Para Bals De Bodas
Una pequeña parte de ti – Aleks Sintek 2No one cant take you away from me now - Marillion 3Todo Cambio – Camila 4Te amo – Alexander Acha 5Tu de que vas – Franco De vita 6Cielo – Benny Ibarra 7Contigo – Erick Rubín 8Sentirme Vivo – Emmanuel 9No hace falta – Mijares 10Have I told you latley that i love you – Rod Stewart 11A fuego lento – Rossana 12From this moment – Shania Twain 13Eres - Café Tacuba 14Inspiración – Benny Ibarra 15Por amarte - Enrique Iglesias 16La cosa más bella – Eros Ramazotti 17Tres veces amor - Lucero y Mijares 18O tu o ninguna – Luis Miguel 19El poder de tu amor – Ricardo Montaner 20Tu amor, mi amor – Soraya PARTE 2 1. Todo cambió-Camila 2. The way you look tonight-Frank Sinatra 3. Your song-Elthon John 4. Cielo-Benny Ibarra 5. El privilegio de amar-Lucero y Mijares 6. Inspiración-Benny Ibarra 7. Te amo-Alexander Acha 8. Sentirme vivo-Emmanuel 9. A fuego lento-Rossana 10. Desde que llegaste-Reily Parte 3 1. In the Name of Love – Groover Washington 2. The Way You Look Tonight – Frank Sinatra 3. Your Song – Elton John 4. Desafinado – Kenny G 5. Romeo y Julieta – Richard Clayderman 6. La Vie en Rose – Interpretada por Mantovani 7. Being With You – George Benson 8. In a Sentimental Mood – Duke Ellington and John Coltrane 9. Because I Love You – Richard Clayderman 10. Silhouette – Kenny G 11. Hasta Mi Final – IL Divo 12. Heaven – Bryan Adams 13. Por Ti Volaré – Andra Bocelli 14. Moi Laskovyi I Nejnti Zver (Mi Bestia Dulce y Tierno, un melodrama ruso) - Un vals de Eugen Doga 15. -
Amat Escalante
Amat Escalante Escalante nació por en Barcelona, España, Escalante was born fortuitously in Barcelona, proveniente de una familia compuesta de padre Spain, as his family, composed by a Mexican mexicano y madre americana. La primera etapa father and an American mother. He spent most de su vida transcurrió en Guanajuato, México, y of his early years in Guanajuato, Mexico, but en el año 2001 se mudo a España para estudiar moved to Spain in 2001 to study film editing and edición y sonido en el Centro para Estudios sound at the Center for Cinematographic Studies Cinematográficos de Catalunya (Centre d’Estudis of Catalonia (Centre d’Estudis Cinematogràfics Cinematogràfics de Catalunya, CECC). Después de Catalunya, CECC). After his stint in Barcelona, de su estadía en Barcelona, se matriculó en la he joined the International School of Film and Escuela Internacional de Cine y Televisión (EICTV) Television (EICTV) in Havana, Cuba; Back in en La Habana, Cuba; de regreso en México dirigió Mexico, he directed a short film AMARRADOS un pequeño corto cinematográfico AMARRADOS (2002) that received an award at the 2003 (2002) que recibió una condecoración en Berlinale Berlinale International Film Festival. He worked Internacional Film Festival en su edición 2003. as an assistant of Carlos Reygadas in BATALLA Trabajó como asistente de Carlos Reygadas en EN EL CIELO (2005), which entered the 2005 BATALLA EN EL CIELO (2005) la cual compitió Cannes Film Festival. Reygadas co-produced en el año 2005 en Cannes Film Festival. Reygadas some of Escalante’s first films. One of those coprodujo algunos de los primero filmes de films SANGRE (2005), was included in Un Escalante. -
Winter 2019 1 Jose Ángel Mañas
SPANISH LANGUAGE & CULTURE WINTER 2019 1 Jose Ángel Mañas. Photo by Ricardo Roncero Ángel Mañas. Jose 211 EAST 49TH STREET NEW YORK, NY 10017 WHO WE ARE WORKING TEL. 212.308.7720 Instituto Cervantes is an international non-profit organization founded by Spain in 1991 to promote the Spanish language and Spanish and Hispanic-American culture [email protected] through language classes, public programming and access to our extensive library. newyork.cervantes.org TOGETHER We are present on five continents with more than 75 centers spread out across many different countries. EXECUTIVE OFFICE ACADEMIC DEPARTMENT SPONSORSHIP: BE A PART, PLAY A PART Ignacio Olmos, Executive Director Alicia Martínez Crespo, Director Gemma Baltasar Support Instituto Cervantes New York and consider making a tax-deductible donation. Javier Fernández Saavedra As a nonprofit 501(c)(3) organization, Instituto Cervantes depends on the generosity CULTURAL AFFAIRS & COMMUNICATION María Noguerol Martín of valued individuals like you. Don’t wait! You can make your donation today by check Ana Vázquez Barrado, Director Enrique García Fernández (payable to Instituto Cervantes: 211 East 49th St, New York, NY 10017) or via credit Carlos Contreras Elvira card by calling 212 308 7720. Helio San Miguel TEACHERS/INSTRUCTORS Corporate Memberships Available. Irene Mohedano Adriana Eirosa (Spain) María Honrubia Gastiain Alejandra Parra (Mexico) Soledad López Alexander Pérez (Cuba) Alicia Violán (Spain) LIBRARY Ana Esteban (Spain) Paz V. de Troya, Director Azahara Baena (Spain) W. Richard Heyer Carlos González Mexico) Claudia Loring (Spain) MEMBERSHIPS Diana Bravo (Venezuela) María J. Núñez Fabián González (Argentina) Irene Lozano (Spain) ADMINISTRATION DEPARTMENT Irma Cedeño (Dominican Republic) Bertha Rocafort Lasheras, Director Javier Labrador (Cuba) Israel Whitten Leyma López (Cuba) $35 Student | Senior Tax deductible $35 Juan M. -
Libro ING CAC1-36:Maquetación 1.Qxd
© Enrique Montesinos, 2013 © Sobre la presente edición: Organización Deportiva Centroamericana y del Caribe (Odecabe) Edición y diseño general: Enrique Montesinos Diseño de cubierta: Jorge Reyes Reyes Composición y diseño computadorizado: Gerardo Daumont y Yoel A. Tejeda Pérez Textos en inglés: Servicios Especializados de Traducción e Interpretación del Deporte (Setidep), INDER, Cuba Fotos: Reproducidas de las fuentes bibliográficas, Periódico Granma, Fernando Neris. Los elementos que componen este volumen pueden ser reproducidos de forma parcial siem- pre que se haga mención de su fuente de origen. Se agradece cualquier contribución encaminada a completar los datos aquí recogidos, o a la rectificación de alguno de ellos. Diríjala al correo [email protected] ÍNDICE / INDEX PRESENTACIÓN/ 1978: Medellín, Colombia / 77 FEATURING/ VII 1982: La Habana, Cuba / 83 1986: Santiago de los Caballeros, A MANERA DE PRÓLOGO / República Dominicana / 89 AS A PROLOGUE / IX 1990: Ciudad México, México / 95 1993: Ponce, Puerto Rico / 101 INTRODUCCIÓN / 1998: Maracaibo, Venezuela / 107 INTRODUCTION / XI 2002: San Salvador, El Salvador / 113 2006: Cartagena de Indias, I PARTE: ANTECEDENTES Colombia / 119 Y DESARROLLO / 2010: Mayagüez, Puerto Rico / 125 I PART: BACKGROUNG AND DEVELOPMENT / 1 II PARTE: LOS GANADORES DE MEDALLAS / Pasos iniciales / Initial steps / 1 II PART: THE MEDALS WINNERS 1926: La primera cita / / 131 1926: The first rendezvous / 5 1930: La Habana, Cuba / 11 Por deportes y pruebas / 132 1935: San Salvador, Atletismo / Athletics -
Nostalgia for El Indio
FILMS NOSTALGIA FOR EL INDIO Fernando Fuentes This biography of Emilio Fernández, pacity creates a clear photographic Origins, Revolutions, Emigration one of Mexico's most famous film di- identity whether he portrays the Me- rectors of the so-called Golden Age of xican countryside or the urban scene. Emilio Fernández, known in the film Mexican film, was written with the All the solemn moments in his world as El Indio, was born in what is analytic professionalism and historic films are impregnated by a nostalgia now a ghost town but was part of a vision characteristic of Emilio García for the Revolution on the nationalist mining zone called Mineral de Hon- Riera. level, and by nostalgia for virginity do, in the municipality of Sabinas, In his detailed revision of El Indio on an emotional level, whether the Coahuila. He was the only child of Fernández' cinematographic work, film is set in the violence of the pro- Sara Romo, a Kikapoo Indian, and the author provides a critical evalu- vinces or in urban cabarets or bur- of Emilio Fernández Garza. ation of the film maker's produc- dels. The rhythm of his stories is He participated in the Revolution tion, and generally refers exactly to marked by impulses of a energetic as a boy, or at least, he dedicated his sources, be these material from sensibility and an admirable artistic himself to taking mental photos: "I newspapers, magazines or books, or capacity. had what all boys dream about: a pis- testimonies of those who lived or El Indio Fernández is a poet of tol, a horse and a battleground. -
Mexico City Theatre, Summer 1989 Paul Christopher Smith
FALL 1990 137 Tradition and Experimentation: Mexico City Theatre, Summer 1989 Paul Christopher Smith An opportunity to attend plays on a daily basis for a relatively short period of time last summer in Mexico City provided ample evidence that high- quality performances abound in the Mexican capital.1 The variety of offerings included many playwrights from throughout the Spanish-speaking world and translations from virtually everywhere that ranged from Shakespeare's Coriolano to a satire reflecting a certain smallness of the theatrical or cinematographic world, Abuelita de Batman; from Lope de Vega to Luis Basurto; from Strindberg and Sartre to Leñero and Carballido; from Alarcón and Tirso de Molina to Alejandro Jodorowsky; from Maeterlinck to Marguerite Yourcenar as adapted and interpreted by director Jesusa Rodríguez. Long-established plays were given sometimes startlingly experimental direction and contemporary Mexican playwrights continue to find fresh realistic approaches to plays of social criticism. This study presents some overview observations on the state of the art, along with brief analyses of the plays I attended. While one must always be careful about generalizing from a relatively limited number of experiences or samples, I think my virtual immersion in theatre activity provided me with reliable perceptions of the Mexico City theatre scene. Interviewing many actors as well as directors and playwrights proved to be most informative and contributed to a deeper understanding of the goals and practices of those involved in the production of plays. Especially interesting to me were certain theatre characteristics that remained similar and others that had evolved since comparable theatregoing experiences in Mexico City had been recorded in LATR by Sharon Magnarelli (Fall 1983), Kirsten Nigro (Spring 1985), and by Ronald Burgess (Fall 1985). -
THE MEXICAN FILM BULLETIN Volume 21 Number 1 (Jan-Feb 2015) Tthhee Mmeexxiiccaann Ffiillmm Bbuulllleettiinn Volume 21 Number 1
THE MEXICAN FILM BULLETIN Volume 21 Number 1 (Jan-Feb 2015) TThhee MMeexxiiccaann FFiillmm bbuulllleettiinn Volume 21 number 1 January-february 2015 21 years!! st Francisco curiel, 1950-2014 Yes, The Mexican Film Bulletin begins its 21 Francisco Curiel Defosse, a composer and the consecutive year of publication. Where did the time son of director Federico Curiel, died on 27 December go? Thanks to long-time readers and “welcome” to 2014 after suffering a heart attack. Curiel was born those who’ve just discovered us. in Mexico City in February 1950. He appeared in several films as a boy, most notably in Santo contra el rey del Ninón Sevilla, 1929-2015 crimen Dancer-actress Ninón Sevilla, one of the most (1961), popular stars of the rumbera era in Mexico, died in a directed by Mexico City hospital his father; in on 1 January 2015; this movie, she was 85 years old. Francisco Emilia Pérez (at left in Castellanos was born the photo, in Havana, Cuba in with November 1929. Augusto She performed in her Benedico and René Cardona Sr.) played “Roberto de native land as a la Llata,” who would grow up to become El Santo. chorus girl and In later years, Curiel became a songwriter, and his dancer, and came to music can be heard in several films, including the Mexico in the 1940s documentary about his father, entitled Pichirilo under the auspices of (2002). This movie was directed by Francisco Fernando Cortés. Curiel’s son Álvaro Curiel, a TV and film director. Sevilla made her screen debut in 1946, and within a short time was elevated to starring roles in films produced by Pedro fidel garriga, 1948-2014 A.