DOCSLIB.ORG

OLCUN TAN VFX Supervisor / VFX Producer

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
OLCUN TAN VFX Supervisor / VFX Producer OLCUN TAN VFX Supervisor / VFX Producer PROJECTS DIRECTORS PRODUCERS/STUDIOS THE REVENANT Alejandro González New Regency Pictures / 20th Century Fox (Gradient Effects) Iñárritu THE LAST SHIP Pilot & Series (Gradient Effects) Jonathan Mostow Platinum Dunes / TNT BLACK SAILS Series (Gradient Effects) Various Directors Platinum Dunes / Starz GAME OF THRONES Seasons 3 & 4 Various Directors HBO (Gradient Effects) CLEMENTINE Pilot Michael Dinner ABC / Mark Gordon Company A HAUNTED HOUSE 2 Michael Tiddes IM Global / Open Road Films THE HOST (Gradient Effects) Andrew Niccol Open Road Films IDENTITY THIEF (Gradient Effects) Seth Gordon Universal Pictures CLOUD ATLAS (Gradient Effects) Tom Tykwer Anarchos Pictures / Warner Bros. AMERICAN REUNION (Gradient Effects) Jon Hurwitz Universal Pictures BIG MIRACLE (Gradient Effects) Ken Kwapis Universal Pictures ARBITRAGE (Gradient Effects) Nicholas Jarecki Lucky Monkey Pictures / Roadside Attractions DREAM HOUSE (Gradient Effects) Jim Sheridan Morgan Creek Productions / Universal Executive VFX Producer THE CHANGE-UP (Gradient Effects) David Dobkin Universal Pictures FRIENDS WITH BENEFITS (Gradient Effects) Will Gluck Screen Gems HARRY POTTER AND THE DEATHLY David Yates Warner Bros. HALLOWS: PART 2 (Gradient Effects) LOVE, WEDDING, MARRIAGE Dermont Mulroney Echo Bridge Entertainment / IFC Films (Gradient Effects) PRIEST (Gradient Effects) Scott Stewart Screen Gems Executive VFX Producer HARRY POTTER AND THE DEATHLY David Yates Warner Bros. HALLOWS: PART 1 (Gradient Effects) INHALE (Gradient Effects) Baltasar Kormakur 26 Films / IFC Films Executive VFX Producer PIRANHA (Gradient Effects) Alexandre Aja Atmosphere Entertainment / Dimension Films Executive VFX Producer CATS & DOGS: THE REVENGE OF Brad Peyton Mad Chance / Warner Bros. KITTY GALORE (Gradient Effects) Executive VFX Producer MACGRUBER (Gradient Effects) Jorma Taccone Relativity Media 2012 (Gradient Effects) Roland Emmerich Centropolis / Columbia Pictures I HOPE THEY SERVE BEER IN HELL Bob Gosse The Collective Studios (Gradient Effects) - Executive VFX Producer THE BOX (Gradient Effects) Richard Kelly Radar Pictures / Warner Bros. GAMER (Gradient Effects) Mark Neveldine Lakeshore Entertainment / Lionsgate Executive VFX Producer THE UGLY TRUTH (Gradient Effects) Robert Luketic Lakeshore Entertainment / Lionsgate Executive VFX Producer WORLD’S GREATEST DAD (Gradient Effects) Bobcat Goldthwait Process Productions / Magnolia Pictures Executive VFX Producer THE INFORMERS (Gradient Effects) Gregor Jordan Senator Entertainment Co / Sony SURFER, DUDE (Gradient Effects) S.R. Bindler J.K. Livin Productions / Anchor Bay Ent. FIREFLIES IN THE GARDEN (Gradient Effects) Dennis Lee Essential Entertainment / Sony SOUTHLAND TALES (Gradient Effects) Richard Kelly Universal Pictures THE INVENTION OF LYING Ricky Gervais Radar Pictures / Warner Bros. Digital Effects Supervisor (Page 1 of 2) THE LAST EXORCISM Daniel Stamm Strike / Lionsgate Digital Effects Supervisor KUNG FU PANDA Mark Osborne PDI / Paramount Effects Developer FEAST OF LOVE Robert Benton Lakeshore / MGM Digital Effects Supervisor REMEMBER THE DAZE Jess Manafort Persistent Entertainment CG Supervisor THE REAPING Stephen Hopkins Warner Bros. Lead Effects Developer - Gradient VFX Artist - Digiscope PREMONITION Mennan Yapo TriStar Pictures / MGM CG Supervisor BLOOD AND CHOCOLATE Katja von Garnier Lakeshore Entertainment / MGM CG Supervisor FLUSHED AWAY David Bowers Dreamworks Animation / Paramount Effects Animator / Developer OVER THE HEDGE Tim Johnson PDI / Paramount Lead Effects Developer SHARK TALE Bibo Bergerson, Dreamworks SKG / ABC Digital Effects Artist Vicky Jenson & Rob Letterman BLACK HAWK DOWN Ridley Scott Revolution Studios / Columbia Pictures 3D Artist LARA CROFT: TOMB RAIDER Simon West Mutual Film Company / Paramount Lead TD 3D/R&D ENEMY AT THE GATES Jean-Jacques Annaud Mandalay Pictures / Paramount Computer Graphics Supervisor & Lead Effects Developer, Lead 3D Artist – Das Werk 2001: A SPACE TRAVESTY Allan A. Goldstein Columbia Tristar 3D Technical Director THE PATRIOT Roland Emmerich Mutual Film Company (Page 2 of 2) .
Load more

Recommended publications
  • Pr-Dvd-Holdings-As-Of-September-18
    CALL # LOCATION TITLE AUTHOR BINGE BOX COMEDIES prmnd Comedies binge box (includes Airplane! --Ferris Bueller's Day Off --The First Wives Club --Happy Gilmore)[videorecording] / Princeton Public Library. BINGE BOX CONCERTS AND MUSICIANSprmnd Concerts and musicians binge box (Includes Brad Paisley: Life Amplified Live Tour, Live from WV --Close to You: Remembering the Carpenters --John Sebastian Presents Folk Rewind: My Music --Roy Orbison and Friends: Black and White Night)[videorecording] / Princeton Public Library. BINGE BOX MUSICALS prmnd Musicals binge box (includes Mamma Mia! --Moulin Rouge --Rodgers and Hammerstein's Cinderella [DVD] --West Side Story) [videorecording] / Princeton Public Library. BINGE BOX ROMANTIC COMEDIESprmnd Romantic comedies binge box (includes Hitch --P.S. I Love You --The Wedding Date --While You Were Sleeping)[videorecording] / Princeton Public Library. DVD 001.942 ALI DISC 1-3 prmdv Aliens, abductions & extraordinary sightings [videorecording]. DVD 001.942 BES prmdv Best of ancient aliens [videorecording] / A&E Television Networks History executive producer, Kevin Burns. DVD 004.09 CRE prmdv The creation of the computer [videorecording] / executive producer, Bob Jaffe written and produced by Donald Sellers created by Bruce Nash History channel executive producers, Charlie Maday, Gerald W. Abrams Jaffe Productions Hearst Entertainment Television in association with the History Channel. DVD 133.3 UNE DISC 1-2 prmdv The unexplained [videorecording] / produced by Towers Productions, Inc. for A&E Network executive producer, Michael Cascio. DVD 158.2 WEL prmdv We'll meet again [videorecording] / producers, Simon Harries [and three others] director, Ashok Prasad [and five others]. DVD 158.2 WEL prmdv We'll meet again. Season 2 [videorecording] / director, Luc Tremoulet producer, Page Shepherd.
    [Show full text]
  • Models of Time Travel
    MODELS OF TIME TRAVEL A COMPARATIVE STUDY USING FILMS Guy Roland Micklethwait A thesis submitted for the degree of Doctor of Philosophy of The Australian National University July 2012 National Centre for the Public Awareness of Science ANU College of Physical and Mathematical Sciences APPENDIX I: FILMS REVIEWED Each of the following film reviews has been reduced to two pages. The first page of each of each review is objective; it includes factual information about the film and a synopsis not of the plot, but of how temporal phenomena were treated in the plot. The second page of the review is subjective; it includes the genre where I placed the film, my general comments and then a brief discussion about which model of time I felt was being used and why. It finishes with a diagrammatic representation of the timeline used in the film. Note that if a film has only one diagram, it is because the different journeys are using the same model of time in the same way. Sometimes several journeys are made. The present moment on any timeline is always taken at the start point of the first time travel journey, which is placed at the origin of the graph. The blue lines with arrows show where the time traveller’s trip began and ended. They can also be used to show how information is transmitted from one point on the timeline to another. When choosing a model of time for a particular film, I am not looking at what happened in the plot, but rather the type of timeline used in the film to describe the possible outcomes, as opposed to what happened.
    [Show full text]
  • The Decline and Fall of the European Film Industry: Sunk Costs, Market Size and Market Structure, 1890-1927
    Working Paper No. 70/03 The Decline and Fall of the European Film Industry: Sunk Costs, Market Size and Market Structure, 1890-1927 Gerben Bakker © Gerben Bakker Department of Economic History London School of Economics February 2003 Department of Economic History London School of Economics Houghton Street London, WC2A 2AE Tel: +44 (0)20 7955 6482 Fax: +44 (0)20 7955 7730 Working Paper No. 70/03 The Decline and Fall of the European Film Industry: Sunk Costs, Market Size and Market Structure, 1890-1927 Gerben Bakker © Gerben Bakker Department of Economic History London School of Economics February 2003 Department of Economic History London School of Economics Houghton Street London, WC2A 2AE Tel: +44 (0)20 7955 6482 Fax: +44 (0)20 7955 7730 Table of Contents Acknowledgements_______________________________________________2 Abstract________________________________________________________3 1. Introduction___________________________________________________4 2. The puzzle____________________________________________________7 3. Theory______________________________________________________16 4. The mechanics of the escalation phase _____________________________21 4.1 The increase in sunk costs______________________________________21 4.2 The process of discovering the escalation parameter _________________29 4.3 Firm strategies_______________________________________________35 5. Market structure ______________________________________________47 6. The failure to catch up _________________________________________54 7. Conclusion __________________________________________________63
    [Show full text]
  • 1 SKYDANCE MEDIA PROMOTES DON GRANGER to PRESIDENT of FEATURE FILM PRODUCTION Santa Monica, CA – February 9, 2017 – Skyda
    SKYDANCE MEDIA PROMOTES DON GRANGER TO PRESIDENT OF FEATURE FILM PRODUCTION Santa Monica, CA – February 9, 2017 – Skydance, a diversified media company that creates event-level entertainment for global audiences, today announced that Don Granger has been promoted to President of Feature Film Production, effective immediately. In his new role, Granger is responsible for helping to set and execute the development and production strategy for the Company’s growing feature film slate. He was previously Executive Vice President of the division. Most recently, Granger served as Producer on Jack Reacher: Never Go Back and Mission: Impossible – Rogue Nation. He serves as Executive Producer on the studio’s next two feature films: Life with Sony on March 24 and Baywatch with Paramount on May 26. “Don’s genuine passion for filmmaking and his capacity to work tirelessly to fulfill his creative vision are boundless," said Dana Goldberg, Chief Creative Officer of Skydance Media. “We are thankful for his immense contributions at the studio so far and feel incredibly fortunate that he is taking on this crucial role as we continue to grow Skydance.” “I am very proud to be part of the Skydance family, and grateful for the faith they have shown in me. David Ellison’s vision for Skydance is truly inspiring and under his and Dana Goldberg’s leadership, I look forward to helping make movies that entertain and thrill global audiences," commented Granger. Prior to joining Skydance in 2014, Granger served as President of Motion Picture Production at United Artists, where he ran the day-to-day development and production operations for five years.
    [Show full text]
  • The Cultural Ambivalences of Family in the Cinema of Steven Spielberg
    ‘Steven Phone Home’ The Cultural Ambivalences of Family in the Cinema of Steven Spielberg Suzanne Stuart PhD Thesis University of New South Wales 2011 Contents Preface and Acknowledgements iii Introduction: Family Consumption 1 • Spielberg’s Families in the Twilight Zone • Minority Report? Spielberg and the Family in Critical Literature • Close Encounters of the Familial Kind Part One: The Private Sphere of Hearth and Home 1. The Hook within the (Impossible) Family: Standing on the Outside, Looking In – Ideology, Fantasy and Desire 51 • ‘I Fought the Law, and the Law Won’: Catch Me if You Can • ‘Freud’s Robots’: Artificial Intelligence: A.I. • Conclusion: Artificial Resolution 2. The Lost World of ‘Home’: Suburbia, Family Ghosts, and Alienation in Domesticity 106 • Domestic Off-Screen Space in Duel: ‘not the boss in my house’ • Alienation in E.T.: The Extra-Terrestrial – The Suburbs Become Home • ‘The grass grows greener on every side’: Avoiding Binaries in the Fantasy Suburb of Poltergeist • ‘They’re here’: The Penetration of the Public/Private Home in Poltergeist • The Gendered Home - ‘Ask Dad’ • Implosion: The Death Drive of the Suburban Home • Conclusion: Not Quite Home Yet Part Two: Rhetorical Families in the Public Sphere 3. A Leap of Faith: What Lies Beneath the Word of the Father? Representing God, Religion and the Family 162 • Close Encounters of the Third Kind: Melodramatic Masculinity in (Domestic) Space – Mashed Potatoes and Spirituality • The Color Purple and the Shadow of Incest – Obscene Fathers and Father-Gods • A Radio to God? Raiders of the Lost Ark and Indiana Jones and the Last Crusade: Postmodernism, Religious Nostalgia and the (Impossible) Father- God • Conclusion: Chasms and Symbols 4.
    [Show full text]
  • RISA BRAMON GARCIA 818-755-9500 Office CASTING RESUME 818-903-2182 Cell [email protected]
    RISA BRAMON GARCIA 818-755-9500 office CASTING RESUME 818-903-2182 cell [email protected] FEATURE FILM & TELEVISON HISTORY (starting with TV) GILMORE GIRLS (4 movies) Netflix/WB TV Producers: Amy Sherman-Palladino, Dan Palladino MASTERS OF SEX (series, all 4 seasons) Showtime/Sony TV Producers: Michelle Ashford, Sarah Timberman, Carl Beverly, Amy Lippman FOUR STARS (pilot 2016) CBS/CBS Studios Director: R.J. Cutler Producers: Sarah Timberman, Carl Beverly, Ed Redlich, Becky Mode, R.J. Cutler LFE (pilot 2015) CBS/CBS Studios Director: David Slade Producers: Dan Jinks, Paul Downs Colaizzo, David Marshall Grant THE UNTITLED MIAMI aka COCAINE PROJECT (pilot 2014) TNT/WB TV Director: Mark Pellington Producers: Michelle Ashford, Jerry Bruckheimer, Michael Bay, Jonathan Littman, KristieAnne Reed MEMBERS ONLY (pilot 2014) ABC/ABC Studios/CBS Studios Director: R.J. Cutler Producers: Susannah Grant, Sarah Timberman, Carl Beverly, R.J. Cutler THE ORDAINED (pilot 2013) CBS/CBS Studios Director: R.J. Cutler Producers: Frank Marshall, Robert Zotnowski, Larry Shuman, A.B. Fischer REWIND (pilot 2012) Syfy Director: Jack Bender Producers: Gail Berman, Lloyd Braun, Gene Stein, Jack Bender, Tom Spezialy 1 A GIFTED MAN (pilot and series 2011-12) CBS/CBS Studios Director: Jonathan Demme Producers: Susannah Grant, Sarah Timberman, Carl Beverly, Jonathan Demme, Neal Baer THE CAPE (pilot and series 2010-11) NBC/Universal, Berman Braun Directors: Simon West, Deran Serafian Producers: Gail Berman, Lloyd Braun, Gene Stein, Tom Wheeler, John Wirth NY-LON (pilot 2008)
    [Show full text]
  • Film Industry Executive Summary
    An In-depth Study on the Film Industry In the Philippines Submitted by: Dr. Leonardo Garcia, Jr. Project Head and Ms. Carmelita Masigan Senior Researcher August 17, 2001 1 FILM INDUSTRY EXECUTIVE SUMMARY Movies are a powerful force in Philippine society. Movies, more than just a source of entertainment, reflect a nation’s personality. On the silver screen takes shape all the hopes, dreams and fantasies of the common man: legends, love, the stuff of myths and make believe. Its heroes become larger than life, often attaining the stature of demigods. They are looked upon as role models, serving as resources of inspiration. But most important, the movie industry has become a vital part of the national economy. The paper aims to define the industry and its structure, examine the laws that hinder or facilitate its growth as well as the existing associations and what they have done; look into the market potential of the film industry and its foreign market demand; examine supply capability; identify opportunities and threats confronting the industry; prepare an action plan to enhance competitiveness; and recommend a performance monitoring scheme. The film industry shows that its gross value added is growing faster than the gross domestic product and gross national product. In other words, the industry has a lot of potential to improve further through the years. Extent of growth of firms is primarily Metro-Manila based with Southern Tagalog as a far second. There is more investment in labor or manpower than capital expenditures based on the 1994 Census of Establishments. Motion picture also called film or movie is a series of still photographs on film, projected in rapid succession onto a screen by means of light.
    [Show full text]
  • Portland, Oregon, 1894-1915
    Portland State University PDXScholar Dissertations and Theses Dissertations and Theses 2-28-1995 Motion Picture Exhibition and the Development of a Middle-class Clientele: Portland, Oregon, 1894-1915 James Bruce Labosier Portland State University Follow this and additional works at: https://pdxscholar.library.pdx.edu/open_access_etds Part of the History Commons Let us know how access to this document benefits ou.y Recommended Citation Labosier, James Bruce, "Motion Picture Exhibition and the Development of a Middle-class Clientele: Portland, Oregon, 1894-1915" (1995). Dissertations and Theses. Paper 4952. https://doi.org/10.15760/etd.6828 This Thesis is brought to you for free and open access. It has been accepted for inclusion in Dissertations and Theses by an authorized administrator of PDXScholar. Please contact us if we can make this document more accessible: [email protected]. THESIS APPROVAL The abstract and thesis of James Bruce Labosier for the Master of Arts in History were presented February 28, 1995, and accepted by the thesis committee and the department. COMMITTEE APPROVALS: David Franklin c. West Richard Wattenberg Representative of the Office of Graduate Studies DEPARTMENT APPROVAL: David A hnson, Chair Departme of History * * * * * * * * * * * * * * * * * * * * * * * * * * * * ACCEPTED FOR PORTLAND STATE UNIVERSITY BY THE LIBRARY B on ~f7u4tv/ .,. /996 ABSTRACT An abstract of the thesis of James Bruce Labosier for the Master of Arts in History presented February 28, 1995. Title: Motion Picture Exhibition and the Development of a Middle-Class Clientele: Portland, Oregon, 1894- 1915. For about the first fifteen years after its commercial introduction motion picture entertainment throughout the United States was supported almost entirely by the mass of urban industrial workers, immigrants and their families.
    [Show full text]
  • In the Interest of the Moral Life of Our City: the Beginning
    “In the Interest of the Moral Life of Our City”: The Beginning of Motion Picture Censorship in Portland, Oregon Mary P. Erickson Film History: An International Journal, Volume 22, Number 2, 2010, pp. 148-169 (Article) Published by Indiana University Press For additional information about this article http://muse.jhu.edu/journals/fih/summary/v022/22.2.erickson.html Access Provided by University of Oregon at 09/14/11 6:34PM GMT Film History, Volume 22, pp. 148–169, 2010. Copyright © John Libbey Publishing ISSN: 0892-2160. Printed in United States of America “In the Interest of the Moral Life of Our City”: The Beginning of Motion Picture Censorship in Portland, Oregon In the Interest of the Moral Life of Our City Mary P. Erickson “There is an attachment for the automobile those concerns. Cities like Portland, Oregon, scruti- called the shock-absorber, which does away nized motion pictures, relatively new forms of public with the sharp bumps. In the same way the entertainment, for having deleterious effects on soci- moving picture censor board is the shock-ab- ety. Their exploitation of criminal, sexual and other sorber between the people and the film pro- immoral themes served to titillate, and many thought ducers that does away with the bumps, but to tempt, audiences. In many instances, motion pic- carries with it severe criticisms.” tures were thought to directly cause criminal behav- – Eleanor Colwell, Executive Secretary, Port- ior: “A woman in Denver in 1910 saw a film in which land Board of Motion Picture Censors, 1915.1 a person was murdered in his sleep.
    [Show full text]
  • Download The
    "Real War and No Make-Believe" The spectacle of the Mexican Revolution on screen By Joseph E.J. Clark B.A., The University of British Columbia, 1999 A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts in The Faculty of Graduate Studies (Department of History) We accept this as conforming to the required standard The University of British Columbia August 2001 © Joseph E.J. Clark, 2001 Thursday, August 23, 2001 UBC Special Collections - Thesis Authorisation Form Page: 1 In presenting this thesis in partial fulfilment of the requirements for an advanced degree at the University of British Columbia, I agree that the Library shall make it freely available for reference and study. I further agree that permission for extensive copying of this thesis for scholarly purposes may be granted by the head of my department or by his or her representatives. It is understood that copying or publication of this thesis for financial gain shall not be allowed without my written permission. Department of \\ \ SfO&Y The University of British Columbia Vancouver, Canada http://www.library.ubc.ca/spcoll/thesauth.html Abstract In 1914, the Mutual Film Company signed a contract with the Mexican General Pancho Villa for the exclusive rights to his war. Under the agreement Villa was given $25,000 and a percentage of the profits in exchange for allowing Mutual cameramen to follow his southern advance on the federal forces of Victoriano Huerta. In addition to using the Mexican footage as part of their Mutual Weekly newsreel series, the film company released a feature film telling the life story of Villa himself.
    [Show full text]
  • Pancho Villa's Use of the Silent Newsreel in the Mexican Revolution
    ‘Lens Louse’ or Astute Propagandist? Pancho Villa’s Use of the Silent Newsreel in the Mexican Revolution Robin Robinson Photo from Pancho Villa Newsreal s civil war raged in Mexico in 1914, factional lead portance of a positive portrayal in the American media. ers sought to gain support for their cause by pre Participants on both sides generated so many self-serving Asenting a positive representation to international reports that one Austin, Texas newspaper sarcastically observers. Pancho Villa, the most capable military leader wrote that it suspected all Mexican generals of grabbing of the rebel Constitutionalist army, quickly recognized the the stationery and typewriters in retreat while abandon- propagandistic value of the developing motion picture. ing the artillery.1 Across the United States, stories and This article asks what motivated Villa and what were reports about Villa abounded in many newspapers and the results of his embracement of the motion picture? magazines of the time. Mark Cronlund Anderson’s book, Did he use film as a conscious public relations effort Pancho Villa’s Revolution by Headlines, details well Villa’s for the rebel cause or simply as an act of vanity? Is it manipulation of the international press and his image possible that Villa, a provincial Mexican peon, saw the portrayed abroad. Anderson, however, devotes only a persuasive value of the newsreel that media moguls and few pages to Villa’s use of the newsreel in his strategic public policy manipulators in America—like William Ran- media campaign. While Friedrich Katz treats the subject dolph Hearst—failed to recognize? This article takes the more seriously in his mammoth 900 plus page work, The events that occurred and combine them with a historical Life and Times of Pancho Villa dedicates only five pages to discussion of the period’s developing newsreel industry Villa’s use of the American media and Hollywood.
    [Show full text]
  • Pancho Villa and His Resonance in the Border Paradigm
    Pancho Villa and His Resonance in the Border Paradigm Euna Lee Resumen – Pancho Villa y su resonancia en el paradigma fronterizo Varios héroes mexicanos legendarios han vuelto a resurgir en el espacio público para satisfacer diversas necesidades políticas, artísticas o comerciales de distintos sectores, tanto de la sociedad mexicana como de la de los Estados Unidos. La intención del presente texto es profundizar en la figura emblemática de Pancho Villa, en relación con el marco teórico de la región fronteriza. Mi trabajo tiene la intención de responder a las siguientes preguntas: ¿qué tipo de rol adquiere el icono de la Revolución Mexicana para el actual estilo de vida Chicano y Latino? ¿Hasta qué punto Villa todavía tiene cierta viabilidad política o ideológica que habla por y para los intereses comunes de los chicanos o latinos? Quiero centrarme en cómo la figura de Villa se evoca en relación con una serie de conceptos fronterizos, porque el propio Villa inspira dudas sobre la representación de imágenes de la frontera, como construcción alegórica de la representación y de la tergiversación de la frontera física. Examino la forma en que se invoca, se discute y se reapropia su presencia en trabajos teóricos, literarios y fílmicos, cuyas figuraciones temáticas giran en torno a la frontera. El trabajo está organizado en tres partes: un análisis de cómo la figura de Villa reencarna en tres contextos: teatro, cine y folclor, siempre en diálogo con los temas de la cultura fronteriza, la identidad de frontera y la representación de la frontera. Yo propongo que la figura de Villa señala conflictos y debates todavía persistentes involucrados en la región fronteriza, ya que vuelve mu- chas veces como un icono popular, tanto para la sociedad en general de los Estados Unidos, como para la comunidad chicana y latina.
    [Show full text]