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SG the Fitzgerald Brochure New.Indd
FOR LEASE Maryland DC • Virginia Online 605 South Eden Street, Ste 200 1600 Wilson Boulevard, Ste 930 www.segallgroup.com Baltimore, MD 21231 Arlington, VA 22209 Member of 410.753.3000 202.833.3830 Where the Midtown neighborhoods of Mt Vernon, Station North and Bolton The Opportunity Hill meet, you will fi nd The Fitzgerald. Inspired by F. Scott Fitzgerald and Approximately 19,000 square feet of prime space is available on the energy of his era, this Baltimore development offers more than just two levels – 14,359 on the ground fl oor and 5,069 square feet on a somewhere to hang your hat. The developer, Bozzuto Group, blended Mezzanine level open to the fl oor below. These two areas are currently connected by elevator and escalator and, due to Oliver Street’s rising stunning features with fantastic amenities in a culturally rich environment. slope, both at street grade. Entertainment, grocery or fi tness uses are Sandwiched between the Maryland Institute College of Art (MICA) and the sought for the larger portion or the entirety, while the smaller area can University of Baltimore, The Fitzgerald is a mixed use project consisting of be demised for a café that caters to this culturally rich party of the City. almost 25,000 square feet of dynamic urban retail space, 275 residential units and a 1,250 space parking garage that serves University of Baltimore Quick Facts students as well as area visitors. The project’s retail component is ideal for LLocationocation Retail space in Luxury Apartment Building entertainment, service, retail and restaurant uses to serve students and faculty, 19,428 square feet SSizeize neighborhood residents, out of town visitors, local offi ce workers and patrons (14,359 lower level and 5,069 Mezzanine) of the great local entertainment and cultural venues including the Lyric Opera DDeliveryelivery Immediate House & Theater, The Meyerhoff Symphony Hall, and the Parkway, Centre and RRentalental RRateate Negotiable Charles Theatres in the nearby “Station North” Arts District. -
December 2020 Salvador Velazco Claremont
DECEMBER 2020 SALVADOR VELAZCO CLAREMONT McKENNA COLLEGE DEPARTMENT OF MODERN LANGUAGES AND LITERATURES 850 COLUMBIA AVE. CLAREMONT, CA 91711-6420 (909) 607-7984 Office: RN 220 (909) 621-8419 FAX E-MAIL: [email protected] PROFESIONAL EMPLOYMENT Fall 2004-date ASSOCIATE PROFESSOR, Department of Modern Languages and Literatures, Claremont Mckenna College. 2005-2010 (Summers) VISITING PROFESSOR, Spanish School, Middlebury College at Vermont and at Guadalajara (México). 1998-2004 ASSISTANT PROFESSOR, Department of Modern Languages and Literatures, Claremont Mckenna College. 1997-1998 VISITING ASSISTANT PROFESSOR, Department of Modern Languages and Literatures, Claremont Mckenna College. 1996-1997 VISITING PROFESSOR, Department of Foreign Languages and Literatures, Lewis and Clark College. EDUCATION Ph. D. ROMANCE LANGUAGES AND LITERATURES: SPANISH University of Michigan, 1996. M.A. HISPANIC LANGUAGES AND LITERATURES University of California, Los Angeles, 1991. B. A. LICENCIATURA: LATIN AMERICAN LITERATURE University of Guadalajara, Mexico, 1988. PUBLICATIONS BOOK Visiones de Anahuac. Reconstrucciones historiográficas y etnicidades emergentes en el México colonial: Fernando de Alva Ixtlilxochitl, Diego Muñoz Camargo y Hernando Alvarado Tezozomoc. México: University of Guadalajara Press, 2003, 304 pages. BOOK CHAPTERS 3. “Cineastas mexicanos en Hollywood: la (im) posible integración.” En Tendencias del cine iberoamericano del nuevo milenio: Argentina, Brasil, España y México. Coordinador Juan Carlos Vargas. México: Universidad de Guadalajara / Patronato Internacional del Festival Internacional de Cine en Guadalajara, 2011, pp. 189-205 2. “Documental y crímenes de Estado en México: 1968, 1971”. En Canal 6 de julio: la guerrilla fílmica. Coordinador Carlos Mendoza. México: Heródoto, 2008, pp. 109-119. (Reprinted. Originally published in Cine-Lit Publications) 1. “Documental y crímenes de Estado en México: 1968, 1971”. -
Pulsa Aquí Para Descargar La Revista Digital Minatura 134 En .Pdf
Eros: Es por hombres como Michael Herz (El vengador usted que todos deben de ser Toxico, 1984) destruidos. Ed Wood (Plan 9 from Outer Narrador: Bandera en la Luna. Space, 1959) ¿Cómo llegaste ahí? Colleman Francis (La bestia de Dr. Harold Medford: Estamos Yucca Flats, 1961) siendo testigos de que una profecía bíblica se haga Bill Lane: ¡Eres tan mala como realidad: “Y habrá destrucción y ella! ¡Oh, mujer! oscuridad sobre la creación, y la Mary Dennison: ¡Hombre! Cada bestia reinará sobre la tierra” vez que buscas una respuesta, Gordon Douglas (La humanidad siempre encuentras una mujer. No te saldrás de esta en peligro, 1954) tan fácilmente. Se en lo que piensas, que Zinthrop tenía algo. Teniente Dave: Finalmente le hemos detenido. Bill Lane: Bien, llámale intuición masculino si Steve Andrews: Sí, al menos hasta que el Ártico se quieres… hay algo en todo este asunto que no huele mantenga frio. muy bien… ¡Un laboratorio privado! ¡Experimentos Irvin S. Yeaworth Jr. (La masa devoradora, 1958) secretos! ¡El mismo Zinthrop! ¡Lo único que ha desaparecido es el genio de la lámpara! Roger Corman (La mujer avispa, 1959) The Toxic Avenger: Hey, Tú babosa gorda. Veremos si tienes agallas. [Toxie le pega al Mayor en el estómago] Narrador: Una vez más la radio de un piloto frenéticos en un informe sobre un OVNI. Un pájaro. The Toxic Avenger: Oficial O'Clancy, tenga cuidado ¡Un ave tan grande como un acorazado! con los desperdicios tóxicos. Fred F. Sears (La garra gigante, 1957) La Revista de los Breve y lo Fantástico Serie B mayo- junio, 2014 #134 -
Artists Are a Tool for Gentrification’: Maintaining Artists and Creative Production in Arts Districts
International Journal of Cultural Policy ISSN: 1028-6632 (Print) 1477-2833 (Online) Journal homepage: http://www.tandfonline.com/loi/gcul20 ‘Artists are a tool for gentrification’: maintaining artists and creative production in arts districts Meghan Ashlin Rich To cite this article: Meghan Ashlin Rich (2017): ‘Artists are a tool for gentrification’: maintaining artists and creative production in arts districts, International Journal of Cultural Policy, DOI: 10.1080/10286632.2017.1372754 To link to this article: https://doi.org/10.1080/10286632.2017.1372754 Published online: 06 Sep 2017. Submit your article to this journal Article views: 263 View related articles View Crossmark data Full Terms & Conditions of access and use can be found at http://www.tandfonline.com/action/journalInformation?journalCode=gcul20 INTERNATIONAL JOURNAL OF CULTURAL POLICY, 2017 https://doi.org/10.1080/10286632.2017.1372754 ‘Artists are a tool for gentrification’: maintaining artists and creative production in arts districts Meghan Ashlin Rich Department of Sociology/Criminal Justice, University of Scranton, Scranton, PA, USA ABSTRACT ARTICLE HISTORY This study investigates the relationship between arts-themed development Received 7 June 2017 and the strategies used by neighborhood stakeholders, including artists Accepted 16 August 2017 and other marginalized populations, to maintain their place in gentrifying KEYWORDS arts and cultural districts. Using a case study of a state-sanctioned Arts & Artist communities; creative Entertainment District in Baltimore, MD (U.S.A.), I find that the organizations placemaking; gentrification; that are ‘thoughtful’ in their development actively seek to maintain the urban planning and policy production of arts and the residency of artists in the neighborhood into perpetuity. -
UNIVERSITY of CALIFORNIA, SAN DIEGO Independent Mexican Cinema and the Dream of a National Cinema in 1970S Mexico a Thesis Submi
UNIVERSITY OF CALIFORNIA, SAN DIEGO Independent Mexican Cinema and the Dream of a National Cinema in 1970s Mexico A Thesis submitted in partial satisfaction of the requirements for the degree of Master of Arts in Latin American Studies by Erika Michelle Ramírez Vargas Committee in charge: Professor Everard Meade, Chair Professor John McMurria Professor Max Parra 2011 Copyright Erika Michelle Ramírez Vargas, 2011 All rights reserved. The Thesis of Erika Michelle Ramírez Vargas is approved and it is acceptable in quality and form for publication on microfilm and electronically: ______________________________________________________________________ ______________________________________________________________________ ______________________________________________________________________ Chair University of California, San Diego 2011 iii Para mi familia en México y en los Estados Unidos. iv TABLE OF CONTENTS Signature Page . iii Dedication Page . iv Table of Contents . v List of Abbreviations . vi Acknowledgements . vii Abstract of the Thesis. .viii Chapter 1. Introduction . 1 Chapter 2. Organizations and the Development of Modern Film Industries . 19 Chapter 3. Los Independientes and the Industry . 30 Chapter 4. Los Superocheros and Sub-Independent Groups . 53 Chapter 5. A New Mexican Cinema . 74 Bibliography . 80 v LIST OF ABBREVIATIONS ANDA Asociación Nacional de Actores CUEC Centro Universitario de Estudios Cinematográficos CCC Centro de Capacitación Cinematográfica CONACINE Corporación Nacional Cinematográfica CPC Centro de Películas -
Maryland Film Festival Director of Development the Maryland Film Festival (Mdff) Seeks a Seasoned Director of Development To
Maryland Film Festival Director of Development The Maryland Film Festival (MdFF) seeks a seasoned Director of Development to create and implement the fund development strategy and plans to maximize contributed revenue from individuals, corporations, foundations and government sources. The mission of the Maryland Film Festival (MdFF) is to bring films, filmmakers, and audiences together in a friendly, inclusive atmosphere that reflects the unique aspects of our community, while participating in and adding to the larger film dialogue across the country and across the world. Film for Everyone. In the fall of 2018 MdFF adopted a five-year plan to fully realize its role in Baltimore and the field as a respite for filmmakers, a world-class destination for cinema, and a stalwart advocate for the democratizing the power of story, as told through film, and expressed through each individual storyteller’s voice. The SNF Parkway functions as a multi-disciplinary film, community, and education hub serving a broad cross- section of the Baltimore public and beyond. MdFF leverages the powerful assets of the Johns Hopkins University, Maryland Institute College of Art and surrounding campus communities to function as a vibrant, regional nerve center for dialogue, discussion, and debate on the key issues of the day, with film as the central axis in broad public discussions. Through programming, education and community ventures, MdFF is establishing a year-round a platform for all voices that are reflective of the diverse population of greater Baltimore and the nation. The five-year strategic plan has recently been extended through 2025 with a revised model season to account for online screenings, hybrid programming, and the return of in-person movie-watching at the SNF Parkway. -
Una Política De Los Autores Para Latinoamérica…
Una política de autores para Latinoamérica. (Nuevos cines y nueva crítica: Argentina, Brasil, México en los sesenta) A politique des auteurs for Latin America. (New cinemas and new criticism: Argentina, Brasil and México in the sixties) DAVID OUBIÑA CONICET / UBA (ARGENTINA) [email protected] Investigador del CONICET y del Instituto de Literatura Hispanoamericana de la Universidad de Buenos Aires e integra el consejo de dirección de la revista Las Ranas (artes, ensayo y traducción) y el comité editorial de Cahiers du cinéma España. Entre sus obras se encuentran Filmología. Ensayos con el cine (2000) que fue galardonada con el Primer premio de ensayo del Fondo Nacional de las Artes; El cine de Hugo Santiago (2002); Jean-Luc Godard: el pensamiento del cine (2003); Estudio crítico sobre La ciénaga, de Lucrecia Martel (2007), Una juguetería filosófica. Cine, cronofotografía y arte digital (2009) y El silencio y sus bordes. Modos de lo extremo en la literatura y el cine (2011). RECIBIDO: 3 DE OCTUBRE DE 2016 ACEPTADO: 22 DE NOVIEMBRE DE 2016 RESUMEN: Las décadas de 1950 y 1960 son las de ABSTRACT: The 1950s and 1960s are the decades la transición modernizadora en Latinoamérica: es of modernization in Latin America: it is the el momento en que las estructuras industriales (ya moment when industrial structures seem to fall out sea que hubieran llegado a desarrollarse o no) of phase in reference to the goals of the new parecen desfasarse en relación a los intereses de filmmakers. During those years of aesthetic, los nuevos cineastas. En esos años de grandes cultural and political transformations, young cambios estéticos, culturales y políticos, los directors define their poetics in confrontation with directores jóvenes definen sus poéticas por the old Studio system. -
Copyright 2012
In Our Own Image: An Oral History of Mexican Women Filmmakers (1988-1994) Item Type Book Authors Arredondo, Isabel Citation Arredondo, Isabel. 2012. In Our Own Image: An Oral History of Mexican Female Filmmakers 1988-1994. Trans. Mark Schafer, Jim Heinrich, Elissa Rashkin, and Isabel Arredondo. Web. Download date 30/09/2021 07:20:02 Link to Item http://hdl.handle.net/20.500.12648/1213 Copyright 2012 In Our Own Image: An Oral History of Mexican Women Filmmakers (1988-1994) Isabel Arredondo Translated by Mark Schafer, Jim Heinrich, Elissa Rashkin, and Isabel Arredondo To Gwen Kirkpatrick, who encouraged me to write this book. TABLE OF CONTENT Acknowledgements .....................................................................................................................................1 Introduction ...................................................................................................................................................1 Film Production and The State in Mexico.................................................................................................21 Juan José Bremer: “Cultural policy should not provide answers”..........................................................25 Ignacio Durán: “The challenge was to steal attention from the soaps” ..................................................33 Alfredo Joskowicz: “The Film School Graduates” ..................................................................................41 Busi Cortés: “Free Lunch” ......................................................................................................................51 -
Universität Bielefeld Fakultät Für Linguistik Und Literaturwissenschaft
Universität Bielefeld Fakultät für Linguistik und Literaturwissenschaft Masterarbeit im Interamerican Studies zum Thema: The representation of the prostitute in Mexican cinema: a comparison between Santa (1931) and El Callejón de Los Milagros (1995) vorgelegt von Nora Sylvia Wallenius Erstgutachter: Prof. Dr. Wilfried Raussert Zweitgutachter: Prof. Dr. Yolanda Campos García Bielefeld, im Mai 2018 Abstract The representation of the prostitute has been one of the most prevalent female characters in the history of Mexican cinema and provides a unique vision to analyze gender roles and the position of the female in Mexico. This thesis will specifically deconstruct the myth of the prostitute through a comparison of two distinct filmic representations: the archetype of the prostitute in Santa (1931) and a more modern representation in El Callejón de Los Milagros (1995), exposing to what degree the representation of the prostitute has changed over the course of a century. A direct analysis of key scenes in the categories of romance, family, and redemption will demonstrate similarities and transgressions. This comparison is developed under the theoretical framework of the position of “the woman” in Mexican cinema, alongside interviews with significant figures in the Mexican film industry. This investigation will shed light on the symbolism of the prostitute in a patriarchal and religious society, including gender relations, power structures, the concept of sin, Mexico’s confrontation with modernity, and female stereotypes in popular media. Keywords: Mexican film, gender studies, stereotype, archetype, the prostitute Abstracto La representación de la prostituta ha sido uno de los personajes femeninos más frecuentes en la historia del cine mexicano y proporciona una visión única para analizar los roles de género y la posición de “la mujer” en México. -
Second Place 2010 Abell Award in Urban Policy
Second Place 2010 Abell Award in Urban Policy MARYLAND ARTS AND ENTERTAINMENT DISTRICTS: A PROCESS EVALUATION AND CASE STUDY OF BALTIMORE Cailin McGough Paul Messino Johns Hopkins University Institute for Policy Studies Masters in Public Policy Program The Abell Award in Urban Policy is presented annually to the student who writes the most compelling paper on a pressing problem facing the City of Baltimore and feasible strategies for addressing it. This award is co-sponsored by The Abell Foundation and the Johns Hopkins Institute for Policy Studies. Acknowledgments This research grew from the prior analysis we conducted as part of the 2008 Fall Baltimore Policy Project at John Hopkins University’s Institute for Policy Studies. We gathered subsequent interviews, observation and research for this paper through May 2010. We would like to thank Dr. Sandra Newman for the impetus to investigate the revitalization taking place in Station North and for her continued support. In addition, Dr. Curtis Ventriss provided insight that guided our research and Bonnie Wittstadt of John Hopkins University’s Milton S. Eisenhower Library aided us in the creation of A&E district maps. We would also like to thank David Bielenberg of Station North Arts and Entertainment Inc., Chris Ryer and Hillary Chester of Southeast Community Development Corporation, and all of the artists, residents, business owners and other stakeholders in Baltimore’s A&E districts who contributed to this report. Pamela Dunne of the Maryland State Arts Council and Jesse Rye of the National Assembly of State Arts Agencies provided valuable background information. We want to emphasize that this analysis is not meant to evaluate the program's impact or assess district "success." Rather, our scope is limited to the design of tax credits and the extent to which they are being used, with findings based on available data and interviews focusing on Baltimore's districts. -
El Hollywood: Alejandro González Iñarritu
EL HOLLYWOOD : ALEJANDRO GONZ ÁLEZ I ÑARRITU, ALFONSO CUAR ÓN, AND GUILLERMO DEL TORO By ANA-MARIA LUNGU Bachelor of Arts in Film Edinburgh Napier University Edinburgh, United Kingdom 2016 Submitted to the Faculty of the Graduate College of the Oklahoma State University in partial fulfillment of the requirements for the Degree of MASTER OF ARTS July, 2018 EL HOLLYWOOD : ALEJANDRO GONZ ÁLEZ I ÑARRITU, ALFONSO CUAR ÓN, AND GUILLERMO DEL TORO Thesis Approved: Dr. Jeff Menne Thesis Adviser Dr. Stacy Takacs Dr. Graig Uhlin ii ACKNOWLEDGEMENTS I would like to express my gratitude to my committee, Dr. Jeff Menne, Dr. Stacy Takacs, and Dr. Graig Uhlin for their guidance throughout my time at Oklahoma State, especially during the thesis writing process. I would like to thank my colleagues Dillon Hawkins, Jared Ashburn, Skyler Osburn and my husband Jacob for their continuous support and their dedication to reading my work and providing helpful comments. iii Acknowledgements reflect the views of the author and are not endorsed by committee members or Oklahoma State University. Name: ANA-MARIA LUNGU Date of Degree: AUGUST, 2018 Title of Study: THESIS Major Field: ENGLISH Abstract: The three Mexican filmmakers, Alfonso Cuarón, Alejandro González Iñárritu, and Guillermo del Toro, dubbed The Three Amigos by scholar Deborah Shaw, have received a lot of critical attention in recent years. While the term Three Amigos and the scholarship that analyzes their early works from a transnational perspective seeks to other them and distinguish them from Hollywood, I argue that the three filmmakers did not depart from a place of difference, and that they embraced Hollywood filmmaking all along, from the beginning of their careers, to the most recent Academy Award recognitions. -
Film Literacy in Poland: the Practices and the Prospects of Film Education FILM / NEW MEDIA / VISUAL ARTS
Film Literacy in Poland: The Practices and the Prospects of Film Education FILM / NEW MEDIA / VISUAL ARTS www.panoptikum.pl ADDRESS: “Panoptikum” ul. Wita Stwosza 58/109 80-952 Gdańsk Phone number: 00 4858 523 24 50 [email protected] EDITORIAL BOARD: Grażyna Świętochowska – Editor-in-chief / [email protected] Monika Bokiniec – [email protected] Grzegorz Fortuna Jr. – [email protected] GUEST EDITORS: Ewa Ciszewska – [email protected] Jadwiga Mostowska – [email protected] ADVISORY BOARD: Prof. Krzysztof Kornacki (University of Gdansk, Poland), Prof. Ewa Mazierska (University of Lancashire, UK), Prof. Mirosław Przylipiak (University of Gdansk, Poland), Prof. Jerzy Szyłak (University of Gdansk, Poland), Prof. Piotr Zwierzchowski (Kazimierz Wielki University, Poland) REVIEWERS: • Lyubov Bugayeva (Saint Petersburg University, Russia) • Lucie Česalkova (Masarykova Univerzita, Czech Republic) • Konrad Klejsa (University of Lodz, Poland) • Krzysztof Kopczyński (University of Warsaw, Poland) • Rafał Koschany (Adam Mickiewicz University in Poznań, Poland) • Karolina Kosińska (Polish Academy of Science Institute of Art, Poland) • Beata Lisowska (Maria Curie Skłodowska University in Lublin, Poland) • Constantin Parvulescu (Universidad de Navarra, Spain) • Joanna Szczutkowska (Kazimierz Wielki University, Poland) • Anna Taszycka (Andrzej Frycz Modrzewski Krakow University, Poland) • Balazs Varga (Eotvos Lorand University, Hungary) Editing of Polish language texts: Honorata Małaszkiewicz, Monika Rawska Technical editing: Monika Rawska