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Series 29:6) Luis Buñuel, VIRIDIANA (1961, 90 Min)
September 30, 2014 (Series 29:6) Luis Buñuel, VIRIDIANA (1961, 90 min) Directed by Luis Buñuel Written by Julio Alejandro, Luis Buñuel, and Benito Pérez Galdós (novel “Halma”) Cinematography by José F. Aguayo Produced by Gustavo Alatriste Music by Gustavo Pittaluga Film Editing by Pedro del Rey Set Decoration by Francisco Canet Silvia Pinal ... Viridiana Francisco Rabal ... Jorge Fernando Rey ... Don Jaime José Calvo ... Don Amalio Margarita Lozano ... Ramona José Manuel Martín ... El Cojo Victoria Zinny ... Lucia Luis Heredia ... Manuel 'El Poca' Joaquín Roa ... Señor Zequiel Lola Gaos ... Enedina María Isbert ... Beggar Teresa Rabal ... Rita Julio Alejandro (writer) (b. 1906 in Huesca, Arágon, Spain—d. 1995 (age 89) in Javea, Valencia, Spain) wrote 84 films and television shows, among them 1984 “Tú eres mi destino” (TV Luis Buñuel (director) Series), 1976 Man on the Bridge, 1974 Bárbara, 1971 Yesenia, (b. Luis Buñuel Portolés, February 22, 1900 in Calanda, Aragon, 1971 El ídolo, 1970 Tristana, 1969 Memories of the Future, Spain—d. July 29, 1983 (age 83) in Mexico City, Distrito 1965 Simon of the Desert, 1962 A Mother's Sin, 1961 Viridiana, Federal, Mexico) directed 34 films, which are 1977 That 1959 Nazarin, 1955 After the Storm, and 1951 Mujeres sin Obscure Object of Desire, 1974 The Phantom of Liberty, 1972 mañana. The Discreet Charm of the Bourgeoisie, 1970 Tristana, 1969 The Milky Way, 1967 Belle de Jour, 1965 Simon of the Desert, 1964 José F. Aguayo (cinematographer) (b. José Fernández Aguayo, Diary of a Chambermaid, 1962 The Exterminating -
Boston Symphony Orchestra Concert Programs, Season 66,1946-1947
SYMPHONY HALL, BOSTON HUNTINGTON AND MASSACHUSETTS AVENUES Telephone, Commonwealth 1492 SIXTY-SIXTH SEASON, 1946-1947 CONCERT BULLETIN of the Boston Symphony Orchestra SERGE KOUSSEVITZKY, Conductor Richard Burgin, Associate Conductor with historical and descriptive notes by John N. Burk COPYRIGHT, 1946, BY BOSTON SYMPHONY ORCHESTRA, ltlC. The TRUSTEES of the BOSTON SYMPHONY ORCHESTRA, Inc. Henry B. Cabot .* President Henry B. Sawyer . Vice-President Richard C. Paine . Treasurer Philip R. Allen M. A. De Wolfe Howe Nicholas John Brown Jacob J. Kaplan Alvan T. Fuller Roger I. Lee Jerome D. Greene Bentley W. Warren N. Penrose Hallowell Raymond S. Wilkins Francis W. Hatch Oliver Wolcott George E. Judd, Manager [577] © © © HOW YOU CAN HAVE A © © Financial "Watch-Dog" © © B © © © B B Webster defines a watch- dog as one kept to watch © and guard." With a Securities Custody Account at © the Shawmut Bank, you in effect put a financial watch- © dog on guard over your investments. And you are re- © lieved of all the bothersome details connected with © © owning stocks or bonds. An Investment Management © Account provides all the services of a Securities Cus- © tody Account and, in addition, you obtain the benefit B the judgment of B of composite investment our Trust B Committee. © Why not get all the facts now, without obligation? © © Call, write or telephone for our booklet: How to be © More Efficient in Handling Your Investments." © © •JeKdimiM \Jwu6t Q/sefi€VKtment © © © The D^ational © © Bank © Shawmut © 40 Water Street^ Boston © Member Federal Deposit Insurance Corporation © Capital $ 10,000,000 Surplus $20,000,000 © © "Outstanding Strength" for no Tears © © © I 578 ] 5? SYMPHONIANA LAURELS IN THE WEST At the beginning of this month the Boston Symphony Orchestra gave ten concerts in cities west of New England. -
SYNC EVENT the Ethnographic Allegory of Unsere Afrikareise
SYNC EVENT The Ethnographic Allegory of Unsere Afrikareise Erik Rosshagen Department of Media Studies Master’s Thesis 30 HE credits Cinema Studies Master’s Programme in Cinema Studies Spring 2016 Supervisor: Associate Professor Malin Wahlberg SYNC EVENT The Ethnographic Allegory of Unsere Afrikareise Erik Rosshagen ABSTRACT The thesis aims at a critical reflexion on experimental ethnography with a special focus on the role of sound. A reassessment of its predominant discourse, as conceptualized by Cathrine Russell, is paired with a conceptual approach to film sound and audio- vision. By reactivating experimental filmmaker Peter Kubelka’s concept sync event and its aesthetic realisation in Unsere Afrikareise (Our Trip to Africa, Peter Kubelka, 1966) the thesis provide a themed reflection on the materiality of film as audiovisual relation. Sync event is a concept focused on the separation and meeting of image and sound to create new meanings, or metaphors. By reintroducing the concept and discussing its implication in relation to Michel Chion’s audio-vision, the thesis theorizes the audiovisual relation in ethnographic/documentary film more broadly. Through examples from the Russian avant-garde and Surrealism the sync event is connected to a historical genealogy of audiovisual experiments. With James Clifford’s notion ethnographic allegory Unsere Afrikareise becomes as a case in point of experimental ethnography at work. The sync event is comprehended as an ethnographic allegory with the audience at its focal point; a colonial critique performed in the active process of audio-viewing film. KEYWORDS Experimental Ethnography, Film Sound, Audio-Vision, Experimental Cinema, Documentary, Ethnographic Film CONTENTS INTRODUCTION 1 Demarcation 6 Survey of the field 7 Background 12 Disposition 15 I. -
Acevedo-Muñoz 1 Los Olvidados
Acevedo-Muñoz 1 Los olvidados: Luis Buñuel and the Crisis of Nationalism in Mexican Cinema by Ernesto R. Acevedo-Muñoz The University of Iowa Prepared for delivery at the 1997 meeting of the Latin American Studies Association, Continental Plaza Hotel, Guadalajara, Mexico April 17-19, 1997 Acevedo-Muñoz 2 Los olvidados: Luis Buñuel and the Crisis of Nationalism in Mexican Cinema The release of Los olvidados in 1950 is one of the historical markers of what I call the “crisis of nationalism” in Mexican cinema. The film was widely received as the “return” of Buñuel by European critics after the period of unnoticeable activity between 1932, the year of Las Hurdes, and 1946, the year of Buñuel’s incorporation into Mexican cinema and of the production of Gran Casino, which led to Buñuel’s Mexican career of almost twenty years and almost twenty movies. Nevertheless, it is known that at the time of the premiere of Los olvidados in Mexico City (November 9, 1950) the movie was mainly taken as an insult to Mexican sensibilities and to the Mexican nation. The stories of the detractors of Los olvidados are, of course, many and well documented.1 As it was often to be the case with Buñuel’s Mexican period, it took for Los olvidados to gather some prestige abroad before it was welcome in Mexico City. After its triumph at Cannes, where Buñuel won the best director award, Los olvidados had a successful season in a first run theater. Acevedo-Muñoz 3 Buñuel’s relationship with Mexican cinema went through several different stages, but it is significant that Los olvidados is recognized both by international critics and Mexican film historians as the turning point in the director’s entire career. -
La Obra Mexicana De Luis Buñuel. Análisis De Los Olvidados (1950): Su Influencia En El Arte Cinematográfico Y Recepción Crítica
La obra mexicana de Luis Buñuel. Análisis de Los Olvidados (1950): su influencia en el arte cinematográfico y recepción crítica Pablo Viñamata Viñamata ADVERTIMENT. La consulta d’aquesta tesi queda condicionada a l’acceptació de les següents condicions d'ús: La difusió d’aquesta tesi per mitjà del servei TDX (www.tdx.cat) i a través del Dipòsit Digital de la UB (diposit.ub.edu) ha estat autoritzada pels titulars dels drets de propietat intel·lectual únicament per a usos privats emmarcats en activitats d’investigació i docència. No s’autoritza la seva reproducció amb finalitats de lucre ni la seva difusió i posada a disposició des d’un lloc aliè al servei TDX ni al Dipòsit Digital de la UB. No s’autoritza la presentació del seu contingut en una finestra o marc aliè a TDX o al Dipòsit Digital de la UB (framing). Aquesta reserva de drets afecta tant al resum de presentació de la tesi com als seus continguts. En la utilització o cita de parts de la tesi és obligat indicar el nom de la persona autora. ADVERTENCIA. La consulta de esta tesis queda condicionada a la aceptación de las siguientes condiciones de uso: La difusión de esta tesis por medio del servicio TDR (www.tdx.cat) y a través del Repositorio Digital de la UB (diposit.ub.edu) ha sido autorizada por los titulares de los derechos de propiedad intelectual únicamente para usos privados enmarcados en actividades de investigación y docencia. No se autoriza su reproducción con finalidades de lucro ni su difusión y puesta a disposición desde un sitio ajeno al servicio TDR o al Repositorio Digital de la UB. -
De Luis Buñuel: Ambivalencias Entre La Diáspora Republicana En México Y La ‘Época De Oro’ Como Cine Nacional
Vol. 11, No. 2, Winter 2014, 221-256 Pedagogía, subalternidad y fatum en Los Olvidados (1950) de Luis Buñuel: ambivalencias entre la diáspora republicana en México y la ‘Época de Oro’ como cine nacional Hernán Medina Jiménez University of Pittsburgh I Después del éxito en taquilla de El gran calavera (1949)—luego de tres años de inactividad cinematográfica debido al fracaso comercial de su primer largometraje mexicano Gran Casino (1947)—Luis Buñuel (Calanda, 1900-México D.F., 1983), junto con el poeta español Juan Larrea (Bilbao, 1895-Córdoba, 1980), le presentan al productor de origen judío-francés Oscar Dancigers (Moscú, 1902-México D.F., 1976) el argumento para una película de tipo comercial cuyo título original debía llamarse ¡Mi pobre huerfanito, jefe!, proyecto que Dancigers cuestiona y califica de “folletoncito”. La recomendación del productor general de Ultramar Films S.A., por el contrario, fue abandonar aquella historia basada en un niño vendedor de loterías—el último billete se denominaba ‘huerfanito’—para desarrollar “Una historia sobre los niños pobres de México” (Buñuel, en Medina Jiménez 222 Pérez Turrent y de la Colina 49). Por confesión propia, Buñuel no gustaba de escribir guiones solo, se auto-consideraba ágrafo, necesitaba de un colaborador; y si damos fe de las correcciones en los créditos finales de la reciente edición especial de Los olvidados (1950)—bajo la coordinación general de la Fundación Televisa en el año 2004—, el argumento principal de este nuevo proyecto se realizó finalmente con la participación de un equipo de producción que establece una directa correspondencia transatlántica.1 En realidad, la dirección y el guión fueron elaborados, en su mayoría, por artistas e intelectuales españoles exiliados en México como consecuencia de la derrota de la República durante la Guerra Civil Española, y cuya permanencia legal en el país se debía a la gestión del presidente mexicano Lázaro Cárdenas hacia finales de los años treinta. -
Formato Para Nominación
NOMINATION FORM MEMORY OF THE WORLD REGISTER MEXICO - ORIGINAL NEGATIVE OF “LOS OLVIDADOS”, FILM BY LUIS BUÑUEL PART A: ESSENTIAL INFORMATION 1.- SUMMARY The film Los olvidados (in the USA “The Young and the Damned”), made in 1950 by Spanish- Mexican director Luis Buñuel, is the most important document in Spanish about the marginal lives of children in contemporary large cities, and it is also a crude, realist vision, without any concessions, of one part of Mexican society, focalized in a Mexico City slum in which the characters, who have been observed carefully and truthfully, follow their necessary destiny as a result of the social and economic circumstances that surround them. With Los olvidados, Buñuel brings to world cinematography a complete work where, without abandoning the surrealist aesthetics of his first films such as El perro andaluz (1928), and La edad de oro (1930), he gives a passionate portrayal of the forgotten ones, in a brutal but honest way, both tragic and poetic; in sum, a film that will always be 1contemporary Los olvidados faced many difficulties from the start. Buñuel devoted two years of research prior to writing his script, then he had to convince producer Oscar Dancigers to grant him stylistic and ideological freedom, and finally even some of his collaborators, scared of repercussions, asked that their names not be included on the screen credits. Dancigers was aware of the problems that this film could face from censorship as well as from conservative groups of Mexican society, or that it might even not be shown at all. He therefore had a “second ending” filmed, almost in secret, which was contrary to the tragic sense of the movie. -
Spain, Spanish Architecture Has Received Many Different Influences and Has Had Many Different Expressions
RCHI ATECTURE IN C EMA O C MIC A D NCE ITER LATURE U M SIC AI PNTING HOT POGRAPHY CU S LPTURE PERMANENT UNIVERSITY UNIVERSITY OF ALICANTE RCHI ATECTURE IN Due to the temporal and geographic amplitude of the history of C EMA Spain, Spanish architecture has received many different influences and has had many different expressions. O C MIC The real development came with the Romans who left behind in A Hispania some of their most amazing monuments. The Muslim D NCE invasion in 711 meant a radical change during the eight ITER centuries that followed and produced great step forwards in the LATURE culture and the architecture. Córdoba, the capital of the U Umayyad dynasty and Granada, capital of the Nasrid dynasty, M SIC became cultural centers of great importance. AI Many Spanish architectural structures, even big parts of the NTING P cities, have been given the status of World Heritage Site given HOT their artistic relevance. Spain is the second country with more POGRAPHY places with the status of World Heritage Site granted by the CU UNESCO, the first one is Italy. S LPTURE PERMANENT UNIVERSITY UNIVERSITY OF ALICANTE RCHI MEGALITHIC ARCHITECTURE IBERIAN AND CELTIC ARCHITECTURE TECTURE During the Stone Age the Castro de Baroña The Castro culture, A Galicia most widespread megalith that arose in the north and in the IN Cueva de Menga in the Iberian Peninsula was C EMA Antequera the dolmen. The plans of center of the these funerary chambers used to be pseudocircles or Peninsula and that O trapezoids, formed by huge stones stuck on the ground was directly or indirectly related to C MIC and with others above them as a roof. -
An Emotional Journey Through Mexican Films from the 40'S and 50'S
STOCKHOLMS UNIVERSITET MK1 / Vt. 2007 Filmvetenskapliga institutionen Handledare: John Fullerton An emotional journey through Mexican films from the 40’s and 50’s MK-uppsats framlagd av Leticia Navarro An emotional journey through Mexican films from the 40’s and 50’s Leticia Navarro Filmvetenskapliga institutionen, Stockholms universitet Supervisor: John Fullerton Magisterkurs I Vt. 2007 ABSTRACT One of the characteristics of film viewing since the beginning is the reaction film causes in the audience. This emotional reaction puzzles me. The aim of this study is to discover how film conveys emotions to the viewer and how these emotions are triggered. Film viewing has an emotional response often expressed by the viewer whether the film was good or not. What is it that makes it so appealing to our emotions? In order to find an answer I have looked through the theories of Greg M. Smith, Annette Kuhn, Allan Casebier and Colin McGinn, among others, to unveil how this emotions emerge. These theories approach the emotions in different ways giving a wider view of how emotions emerge during the film viewing. Personally, I am emotionally attracted to black and white Mexican films from the 40’s and 50’s and based the analysis on some of this films. After analysing Mexican films from the 40’s and 50’s I have come to the conclusion that the emotional reaction can be analysed by filmic tools such as the mood-cue system or the reading of thresholds and boarders, among others. The sum of visual, aural, narrative, movement among other elements together trigger emotions expressed depending of one’s own beliefs. -
Luis Buñuel: Los Olvidados (1950)
Luis Buñuel: Los olvidados (1950) Hanno Ehrlicher (Universität Augsburg) 1. ¿‘Resurrección’ de un director olvidado? El lugar de Los olvidados en la trayectoria cinematográfi ca de Luis Buñuel Los olvidados es una película que ocupa un lugar muy especial dentro de la trayectoria cinematográfi ca de Luis Buñuel. Pero antes de abordar este fi lm va- mos a recordar algunos datos biográfi cos del director. Buñuel nace en Calanda, Aragón, en 1900. A partir de 1917 se forma intelectualmente en el ámbito pro- gresista de la Residencia de Estudiantes de Madrid y, gracias a una estancia en París, alcanza temprana fama en los círculos surrealistas de la capital francesa con sus primeros cortometrajes: Un chien andalou (1928), L’âge d’or (1930) y (en menor medida) Las Hurdes/Tierra sin pan (1933). Después de esta etapa de formación y del primer éxito dentro de un radical, y también marginal, cine vanguardista, seguirá una fase de rumbos inciertos a causa de dos circunstancias en especial: por una parte, la búsqueda de defi nición de su propio lugar en el ámbito del cine industrial y comercial (breve estancia en Hollywood, trabajo en los estudios cinematográfi cos de Paramount, en Pa- rís, y Warner Bros., en Madrid, donde, en 1935, funda la compañía Filmófono junto con Ricardo Urgoiti, en la que se producen varias películas taquilleras1); por otra parte, el estallido de la Guerra Civil en España. Buñuel, que se pone al servicio del gobierno republicano durante los años de la contienda, no solo cambia sus lugares de trabajo (París y, después, Hollywood), sino que también se ve obligado a abandonar el cine industrial por el de urgencia y propaganda2. -
UNIVERSITY of CALIFORNIA Los Angeles Trans
UNIVERSITY OF CALIFORNIA Los Angeles Trans-Urban Narratives: Literary Cartographies and Global Cities in the Urban Imagination of Mexico and the U.S. A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Hispanic Languages and Literatures by Alejandro Ramírez Méndez 2018 © Copyright by Alejandro Ramírez Méndez 2018 ABSTRACT OF THE DISSERTATION Trans-Urban Narratives: Literary Cartographies and Global Cities in the Urban Imagination of Mexico and the U.S. by Alejandro Ramírez Méndez Doctor of Philosophy in Hispanic Languages and Literatures University of California, Los Angeles, 2018 Professor Héctor Calderón, Chair This dissertation examines how narratives from Mexican and Mexican-American writers interconnect urban landscapes and cultures in the transnational context of the twenty-first century. This study focuses on what I call “trans-urban narratives,” a method of literary analysis by comparing the urban environment of Mexico City with three global centers in the U.S.: Chicago, Los Angeles, and New York. In these narratives, Mexican writers (Valeria Luiselli and Juan Villoro) and Mexican-American writers (Sandra Cisneros and Alejandro Morales) portray the transitional experience of their protagonists within two global cities, two urban realities located in opposite sides of the U.S./Mexico border. They create bi-national and hemispheric connections through the juxtaposition of urban landscapes from both countries. While in the twentieth century urban narratives focus mainly in one specific urban environment, my project argues that in the twenty-first ii century the Mexican and Mexican-American literary productions are building transnational spaces within the city that allow the cross-border communication of their cultures. -
Gabriel Figueroa---Art and Film CHECKLIST
^ Under the Mexican sky: Gabriel Figueroa---art and film CHECKLIST Manuel Ramos Landscape, 1920s Gelatin silver print 5 × 7 in. (12.7 × 17.78 cm) Fundación Televisa Manuel Ramos Landscape, 1920s Gelatin silver print 5 x 7 in. Fundación Televisa Archivo Fotográfico Manuel Ramos Manuel Ramos Mountainous Landscape with Clouds, 1920s Gelatin silver print 5 x 7 in. aprox. Fundación Televisa Archivo Fotográfico Manuel Ramos Manuel Ramos Patzcuaro Lake, Michoacan, 1920s Gelatin silver print 5 x 7 in. aprox. Fundación Televisa Archivo Fotográfico Manuel Ramos Manuel Ramos Landscape, 1920s Gelatin silver print 5 x 7 in. aprox. Fundación Televisa Archivo Fotográfico Manuel Ramos Fernando Sosa; Enrique Díaz Álbum Fiestas del centenario de la consumación de la Independencia de México, 1921 Book Fundación Televisa Colección Horacio Quiroga Fernando Sosa; Enrique Díaz Álbum Fiestas del centenario de la consumación de la Independencia de México, 1921 Book Fundación Televisa Colección Horacio Quiroga Manuel Ramos Ixtachihuatl and Popocatepetl views from the top of Chiquihuite, Cordiller de Guadelupe, 1923 Gelatin silver print 5 x 7 in. aprox. Fundación Televisa Archivo Fotográfico Manuel Ramos Diego Rivera Flower Day (Día de Flores), 1925 Oil on canvas 58 x 47 1/2 in. (147.32 x 120.65 cm) Los Angeles County Museum of Art Los Angeles County Fund Edward Weston; Tina Modotti Images of The Rural Teacher, one of the Diego Rivera murals painted on the building of the Ministry of Public Education in Mexico City, 1926 Gelatin silver print 8 x 10 in. Fundación Televisa Colección Particular Edward Weston Pulqueria, Mexico D.F., 1926 Gelatin-silver print 7 1/2 x 9 1/2 in.