Gabriel Figueroa---Art and Film CHECKLIST
Total Page：16
File Type：pdf, Size：1020Kb
Load more
Recommended publications
-
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. -
EL CARDENALITO Er Lengua Y Literatura 3GRADO COLECCIÓN BICENTENARIO
EL CARDENALITO er Lengua y Literatura 3GRADO COLECCIÓN BICENTENARIO Hugo Chávez Frías Comandante Supremo de la Revolución Bolivariana Nicolás Maduro Moros Presidente de la República Bolivariana de Venezuela Corrección, Diseño y Diagramación EQUIPO EDITORIAL COLECCIÓN BICENTENARIO Coordinación de la Serie Lengua y Literatura Magaly Muñoz Pimentel República Bolivariana de Venezuela © Ministerio del Poder Popular para la Educación Autora Magaly Muñoz Pimentel Cuarta edición: Abril, 2014 Convenio y Coedición Interministerial Ilustración Ministerio del Poder Popular para la Cultura Rosanna Gallucci Fundación Editorial El perro y la rana / Editorial Escuela Sandel Revete Maikol Escorihuela ISBN: 978-980-218-292-3 Sebastián León Depósito Legal: If51620113722479 José Torrealba Tiraje: 562.500 ejemplares Arturo Mariño SOFÍA Y PABLO EN 3ER GRADO Sofía Margarita y Pablo Vicente son vecinos y tienen casi la misma edad; Sofía le lleva a Pablo exactamente tres meses, ni un día más, ni un día menos. Para más casualidad, estudian en el mismo salón y muchas veces hacen las tareas juntos. Este año empiezan el 3er grado y están más emocionados que otros años porque van a estrenar El CARDENALITO 3er grado, y eso les parece lo máximo; lo estuvieron hojeando y lo encontraron interesante y divertido. EL CARDENALITO les gusta mucho porque además de tener actividades para leer y escribir, tiene cuentos, poemas, adivinanzas, canciones; hasta tiene la historia de Palomo, el caballo de Simón Bolívar, y explica qué cosas jugaba el niño Simón cuando estaba pequeño como Sofía y Pablo. También les gusta que cada parte del libro tenga un color diferente: el amarillo para las actividades de lectura y escritura; el azul para los cuentos; el rojo para los poemas; el verde para los juegos de palabras; el anaranjado para las canciones; el morado para las lecturas interesantes y el fucsia para las biografías de los autores y las autoras. -
The Only Defense Is Excess: Translating and Surpassing Hollywood’S Conventions to Establish a Relevant Mexican Cinema”*
ANAGRAMAS - UNIVERSIDAD DE MEDELLIN “The Only Defense is Excess: Translating and Surpassing Hollywood’s Conventions to Establish a Relevant Mexican Cinema”* Paula Barreiro Posada** Recibido: 27 de enero de 2011 Aprobado: 4 de marzo de 2011 Abstract Mexico is one of the countries which has adapted American cinematographic genres with success and productivity. This country has seen in Hollywood an effective structure for approaching the audience. With the purpose of approaching national and international audiences, Meximo has not only adopted some of Hollywood cinematographic genres, but it has also combined them with Mexican genres such as “Cabaretera” in order to reflect its social context and national identity. The Melodrama and the Film Noir were two of the Hollywood genres which exercised a stronger influence on the Golden Age of Mexican Cinema. Influence of these genres is specifically evident in style and narrative of the film Aventurera (1949). This film shows the links between Hollywood and Mexican cinema, displaying how some Hollywood conventions were translated and reformed in order to create its own Mexican Cinema. Most countries intending to create their own cinema have to face Hollywood influence. This industry has always been seen as a leading industry in technology, innovation, and economic capacity, and as the Nemesis of local cinema. This case study on Aventurera shows that Mexican cinema reached progress until exceeding conventions of cinematographic genres taken from Hollywood, creating stories which went beyond the local interest. Key words: cinematographic genres, melodrama, film noir, Mexican cinema, cabaretera. * La presente investigación fue desarrollada como tesis de grado para la maestría en Media Arts que completé en el 2010 en la Universidad de Arizona, Estados Unidos. -
Pequeñeces Quá Mi Por Los Tu¬ Amigo El Britano, Lanzaba Una Buená Mejora Aquella Exclamación
AftO XV. — ^UÜERO 4=743 Domingo, 5 de Abril de 1925 "r Domingo y 5. — EI día dura 13 horas 30 mi¬ En el nutos. conjunto de preocupaciones que for¬ Santoral — Ramos. — man el Santos Vicene y tejido de la vida diaria, al alcance de un Zenón. cerebro no perteneciente a la minoría selecta, están los problemas de actualidad.Romanones Oficinas y talleres: Valentín Sanz, IS Anuncios y reclamos, según tarifas Apartado de Correos, n.° S7 Suscripción: 2'00 pesetas TELEFONO NUMERO DIARIO DE LA 415 MAÑANA.—SANTA ORUZ DE TENERIFE.—ISLAS CANARIAS [(FRANQUEO CONCERTADO) DESDE MADRID "—This is the best thing in the museum! don Pedro Pacheco, a quién, lo mis¬ (¡Esto es io mejor del mu¬ ACTUALIDADES seo 1) mo que a los fiemás familiares del Propaganda para la vi¬ Y finado, enviamos nuestro pésame, ya sabe el señor Salaverría por sita del Teide Pequeñeces quá mi por los tu¬ amigo el britano, lanzaba Una buená mejora aquella exclamación. Y allí no tenía ristas científicos 1 Del .fárrago de novelas y novelu- que bajar ila vista y hozar; sino que concurso Según se nos informa, por el pre¬ íUhos que he leifi'o en mi vida lite- admiraba y contemplaba con los ojos sidente de la sociedad "Automóvil ' -raria. me acuerdo de sus pasajes .muy altos.,, Club de Tenerife", don Juan Rodrí¬ En la Guia del turista " científico, más interesantes o de' sus escenas JUAN FRANCHY guez López, cuya gestión al frente que con motivo, de la Asamblea ge¬ más sugestivas Pero hay una, so¬ Madrid. de dicha asociación, merece los ma¬ neral de la Unión Interncional de mbre todas, que podría recitar casi de yores plácemes, se ha ofrecido al¬ Geodesia y Geofísica, celebrada en memoria y cuyos episodios tengo quitranar en el verano del año ac¬ Madrid en Octubre último, acaba de presentes, aún en sus más mínimos De La tual, tíos kilómetros de la carretera publicar ol Comité español, se han Laguna de este detalles. -
97 Book Reviews
SPRING 1974 97 Book Reviews Instituto Colombiano de Cultura, El Zar de precios y otras obras de Luis Enrique Osório. Bogotá: Imprenta y Litografía Canal Ramírez, 1972. 165 p. El Instituto Colombiano de Cultura del Ministerio de Educación Nacional, bajo la dirección del poeta piedracielista Jorge Rojas, ha emprendido una labor encaminada a lograr una igualdad de oportunidades culturales en todos los niveles sociales, mediante la edición de obras de bolsillo alcanzables hasta en el sector más pobre de la comunidad nacional. Este es el caso del libro que aquí se reseña y que corresponde al volumen N° 23 de la serie "colección popular" del Instituto. Se trata de la edición de tres piezas de teatro del bogotano Luis Enrique Osório (1896-1966), uno de los más genuinos dramaturgos colombianos contemporáneos. La primera de las obras incluidas, El Zar de precios, es una comedia de costumbres y crítica social, en tres actos y en prosa, en que se satiriza la falta de sensibilidad de los funcionarios encargados de la oficina de control de precios y salarios, asunto muy del día en todos los países de Occidente. En la presentación y enlace de la materia dramática, el autor nos ofrece una buena pintura tanto del lugar de acción, como del ambiente o clima social en que actúan los personajes, y en cuyo trasfondo se advierte una total desesperación envolvente. La sátira se enfoca principalmente en las arbitrariedades con que actúan los funcionarios del Zar de precios, y en las peripecias por las que padece una típica familia de la clase media social en su lucha por el diario existir. -
Editorial by Nicolás Smirnoff
WWW.PRENSARIO.TV WWW.PRENSARIO.TV //// EDITORIAL BY NICOLÁS SMIRNOFF CEE: ups & downs at the new digital era Central & Eastern Europe is going forward through the new digital era with its own tips. The region has suffered a deep crisis from 2008 to 2017- 2018, with many economies Prensario just standing up. This has International meant rare investment pow- er and long-term plans, but at the same time the change ©2018 EDITORIAL PRENSARIO SRL PAYMENTS TO THE ORDER OF moves fast and comparing to EDITORIAL PRENSARIO SRL other territories, CEE shows OR BY CREDIT CARD. REGISTRO NACIONAL DE DERECHO strong digital poles and de- DE AUTOR Nº 10878 velopment appeals. Argentina: In favor, most of the biggest broadcast- OTT platforms? It is what main broadcasters Las Casas 3535 ers are group of channels that include many of the world are doing, to compete better in CP: 1238 the new converged market and to generate Buenos Aires, Argentina countries, so it is easier to set up cross region- Tel: (+54-11) 4924-7908 al plans and to generate high-scale moves. proper synergies. If content business moves Fax: (+54-11) 4925-2507 On the opposite, there are many different to franchise management, it is important to USA: languages and audiences, so it is difficult to be flexible enough to any formula. 12307 SW 133 Court - Suite #1432 spread solutions that work to every context. This Natpe Budapest? It promises to be bet- Miami, Florida 33186-USA Phone: (305) 890-1813 Russia is a big Internet pole and now it is ter than last ones, with the region going up Email: [email protected] also a big production hub for international and the need of pushing more and more col- Website: www.prensario.tv companies setting up studios or coproduc- laborations. -
View Centro's Film List
About the Centro Film Collection The Centro Library and Archives houses one of the most extensive collections of films documenting the Puerto Rican experience. The collection includes documentaries, public service news programs; Hollywood produced feature films, as well as cinema films produced by the film industry in Puerto Rico. Presently we house over 500 titles, both in DVD and VHS format. Films from the collection may be borrowed, and are available for teaching, study, as well as for entertainment purposes with due consideration for copyright and intellectual property laws. Film Lending Policy Our policy requires that films be picked-up at our facility, we do not mail out. Films maybe borrowed by college professors, as well as public school teachers for classroom presentations during the school year. We also lend to student clubs and community-based organizations. For individuals conducting personal research, or for students who need to view films for class assignments, we ask that they call and make an appointment for viewing the film(s) at our facilities. Overview of collections: 366 documentary/special programs 67 feature films 11 Banco Popular programs on Puerto Rican Music 2 films (rough-cut copies) Roz Payne Archives 95 copies of WNBC Visiones programs 20 titles of WNET Realidades programs Total # of titles=559 (As of 9/2019) 1 Procedures for Borrowing Films 1. Reserve films one week in advance. 2. A maximum of 2 FILMS may be borrowed at a time. 3. Pick-up film(s) at the Centro Library and Archives with proper ID, and sign contract which specifies obligations and responsibilities while the film(s) is in your possession. -
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. -
"El Indio" Fernández: Myth, Mestizaje, and Modern Mexico
Brigham Young University BYU ScholarsArchive Theses and Dissertations 2009-08-10 The Indigenismo of Emilio "El Indio" Fernández: Myth, Mestizaje, and Modern Mexico Mathew J. K. HILL Brigham Young University - Provo Follow this and additional works at: https://scholarsarchive.byu.edu/etd Part of the Spanish and Portuguese Language and Literature Commons BYU ScholarsArchive Citation HILL, Mathew J. K., "The Indigenismo of Emilio "El Indio" Fernández: Myth, Mestizaje, and Modern Mexico" (2009). Theses and Dissertations. 1915. https://scholarsarchive.byu.edu/etd/1915 This Thesis is brought to you for free and open access by BYU ScholarsArchive. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of BYU ScholarsArchive. For more information, please contact [email protected], [email protected]. THE INDIGENISMO OF EMILIO “EL INDIO” FERNÁNDEZ: MYTH, MESTIZAJE, AND MODERN MEXICO by Matthew JK Hill A thesis submitted to the faculty of Brigham Young University in partial fulfillment of the requirements for the degree of Master of Arts Department of Spanish and Portuguese Brigham Young University December 2009 Copyright © 2009 Matthew JK Hill All Rights Reserved BRIGHAM YOUNG UNIVERSITY GRADUATE COMMITTEE APPROVAL of a thesis submitted by Matthew JK Hill This thesis has been read by each member of the following graduate committee and by majority vote has been found to be satisfactory. Date Douglas J. Weatherford, Chair Date Russell M. Cluff Date David Laraway BRIGHAM YOUNG UNIVERSITY As chair of the candidate’s graduate committee, I have read the thesis of Matthew JK Hill in its final form and have found that (1) its format, citations, and bibliographical style are consistent and acceptable and fulfill university and department style requirements; (2) its illustrative materials including figures, tables, and charts are in place; and (3) the final manuscript is satisfactory to the graduate committee and is ready for submission to the university library. -
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. -
SP3145 the Cinema of Luis Buñuel | Readinglists@Leicester
09/25/21 SP3145 The Cinema of Luis Buñuel | readinglists@leicester SP3145 The Cinema of Luis Buñuel View Online Acevedo-Munoz, Ernesto R. 2003a. Buñuel and Mexico: The Crisis of National Cinema. Berkeley: University of California Press. Acevedo-Munoz, Ernesto R. 2003b. Buñuel and Mexico: The Crisis of National Cinema. Berkeley: University of California Press. Adamowicz, Elza. 2010. Un Chien Andalou: (Luis Buñuel and Salvador Dali, 1929). Vol. Ciné-files : the French film guides. London: I.B. Tauris. Andrew. 2006. ‘L’Âge D’or and the Eroticism of the Spirit.’ Pp. 111–37 in Masterpieces of modernist cinema. Bloomington, Ind: Indiana University Press. Annella, McDermott. 2000. ‘“Viridiana”.’ in European Cinema: An Introduction, edited by J. Forbes and S. Street. Basingstoke: Palgrave. Aranda, J. Francisco. 1976. Luis Buñuel: A Critical Biography. American ed. New York: Da Capo Press. Baxter, John. 1994. Buñuel. London: Fourth Estate. Bazin, André. 1984. Buñuel, Dreyer, Welles. Madrid: Editorial Fundamentos. Bazin, André. 2013. The Cinema of Cruelty: From Buñuel to Hitchcock. New York: Arcade Publishing. Begin, P. 2007. ‘Entomology as Anthropology in the Films of Luis Bunuel.’ Screen 48(4):425–42. doi: 10.1093/screen/hjm046. Bermúdez, Xavier. n.d. Buñuel: Espejo Y Sueño. Vol. Contraluz, libros de cine. Valencia: Ediciones de la Mirada. Bikandi-Mejias, Aitor. n.d. El Carnaval de Luis Buñuel: Estudios Sobre Una Tradición Cultural. Vol. Colección Hermes. Madrid: Laberinto. Bordwell, David, and Thompson, Kristin. 2013. Film Art: An Introduction. 10th ed., international ed. New York, N.Y.: McGraw-Hill. Brook, Claudio, Pinal, Silvia, and Buñuel, Luis. 2009. ‘Simón Del Desierto =: Simon of the Desert.’ Criterion collection. -
Filmkatalog IAI Stand Februar 2015 Alph.Indd
KATALOG DER FILMSAMMLUNG Erwerbungen 2006 - 2014 CATÁLOGO DE LA COLECCIÓN DE CINE Adquisiciones 2006 - 2014 Inhalt Argentinien............................................................................. 4 Bolivien....................................................................................18 Brasilien...................................................................................18 Chile.........................................................................................31 Costa Rica................................................................................36 Cuba.........................................................................................36 Ecuador....................................................................................43 Guatemala...............................................................................46 Haiti.........................................................................................46 Kolumbien...............................................................................47 Mexiko.....................................................................................50 Nicaragua.................................................................................61 Peru.........................................................................................61 Spanien....................................................................................62 Uruguay...................................................................................63 Venezuela................................................................................69