Zully Rodriguez Wikipedia Diccionari
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Zully rodriguez wikipedia diccionari Continue The cinema arrived in Latin America in 1896, a year after its first public screening in Paris. With him came film and projection equipment and specialists of the region, mainly Italian. In Argentina, in the early 20th century, the Frenchman Eugenio Pai made the first films, the Italian Atelio Lipizzi founded the film company Italate-Argentina, and the Austrian Max Gluxmann created a distribution system vital to the sound period. When the first exhibition halls appeared, another important pioneer, The Italian Mario Gallo, appeared, followed by his compatriots Edmundo Peruzzi and Federico Valle. Uruguayan Julio Raul Alsina, associated with distribution and exhibition, was the first to open a studio with a laboratory. Argentinian cinema has revealed other names, such as Edmo Cominetti, Nelo Kosimi, Jose Agustan Ferreira, Roberto Guidi, Julio Irigoyen and Leopoldo Torre Rios, who joined the board of directors of the silent period. The cinema was opened in Rio de Janeiro in the so-called beautiful era of Brazilian cinema, in the early 20th century, the Portuguese Antonio Leal, the Spanish Francisco Serrador, the Brazilian brothers Alberto and Paulino Bocheli and Marc Ferres and his son, Jalio (associated with Pate, from Paris) followed. German Eduardo Hirtz appeared in Porto Alegre. Around 1912, the regional features of silent cinema were laid out: in Pelotas, Portuguese Francisco Santos; in Belo Horizonte, Italians Igino Bonfioli; in Barbazen, Paulo Benedetti; in Sao Paulo, other Italians, Vittorio Capellaro, Gilberto Rossi and Arturo Carrari; in Campias, Felipe Ricci and E.K. Kerrigan of The United in Recife, Gentile Roise, Ari Sever, Jota Soares and Edson Chagas; in the Amazon region, two documentary filmmakers, The Portuguese Silvino Santos (Manaus) and the Spaniard Ramon de Banos (Belem). Brazilians such as Luis de Barros (Rio de Janeiro), Jose Medina (Sao Paulo), Humberto Mauro (originally in the interior of Minas Gerais, in Cataguas) and Mario Peixoto with his mythical Limit (1931) stood out. In Bolivia only in the 1920s there were documentaries of Italian Pedro Sambarino, author of the country's first fictional feature film Corazon Aymara (1925). Bolivian director Velasco Maidana censored his first film, La profecia del lago (1925), and directed a new film, Vara Vara (1929). Chile began to make films regularly only in 1916, with La baraja de la muerte (directed by Salvatore Jambastiani) and La Agonya de Arauco (Gabriela von Bussenius, 1917). And showed directors Arturo Mario, Jose Boer, Pedro Sienna, Nicanor de la Sotta, Antonio Acevedo, Alberto Santana, Jorge Delano, Juan Perez Berrocal, Carlos Borcosque and Arkady Beutler - some will make careers in the sound phase and in In Colombia, Italians Francisco Di Domaco and Floro Manco make short films and documentaries between 1914 and 1920. Mesimo Calvo, an important name in the history of Colombian cinema, appeared in the 1920s. Camilo Cantinazzi made three lengths at the end of the silent phase: Seuerte and Azar and Tuia es la Kulpa (1926) and Tardes vallecaucanas (1927). In Ecuador, in the 1920s, cinema experienced a small movement, culminating in the occasional success of El terror de la frontera (Luiz Martinez Kirola, 1929) and Guayaquil de mis amores (Alberto Santana and Francisco Diumenjo, 1930). In Peru, the first important name was Jorge Enrique Goitizolo, who made documentaries since 1909 and the country's first fictional film - Negocio al-Agua (1913). In the 1920s, the figure of the Chilean Alberto Santana, the author of several films, stood out. Spanish Felix Oliver was the first person of Uruguayan cinema, shooting then between 1898 and 1902. Documentary filmmaker Lorenzo Androcher, in turn, served from 1910 to 1914, as well as in the 1920s. In Venezuela, pioneers appeared in 1908: director Augusto Gonzalez Vidal, photographer Mon A. Gonhun and documentary filmmaker Henry zimmerman, authors of newsreels, and then fictional works. In the 1920s, Amebilios Cordero's activities stood out. With Calumnia (1933) and El rompimiento (1937), both Antonio Maria Delgado Gomez, the silent stage of the film ended. In the rare production of Guatemala, El agente No. 13 (Alberto de la Riva, 1912) and El Hijo del Patran (Alfredo Palarea and Adolfo Herbruger, 1929) stand out. In Cuba, the Frenchman Gabriel Weir, who began to bring Lumiere shorts and exhibit them in several Latin American cities, made his first film , Simulacrc de Icendio (1897). But the pioneering Cuban director was Enrique Diaz Kesada, who shot almost continuously, from 1906 to 1920, short films, documentaries, feature films and propaganda films and films of medium length. Ramon Peon succeeded Kesada, with thirteen films, before moving to Mexico in 1932, where he would be very active until 1960, during which time he sometimes returned to filming in Cuba. In the Dominican Republic, cinema arrived in 1900, with rare filming, until director Francisco Arturo Palau made La leyenda de Nuestra Senora de la Altagracia (1922), Las emboscadas de Cupido and the documentary La Republica Dominican (both since 1924). The first Mexican filmmakers were Salvador Toscano, who documented the journey of General Porfirio Diaz to the Yucatan (Fiestas presidenciales en Merida, 1906), and brothers Eduardo, Guillermo, Salvador and Carlos Alva (La entrevista Diaz-Taft , 1909, Revolusion Ofoskista, 1912, and El aniversario fallecimiento de la suede de enhart, 1913). One woman, Mimi Derba, made fictional films (En defensa propia, La tigresa and Sonadora, all since 1917). Year). did other dramatic work until the success of El autom'vil gris (Enrique Rosas, 1919) appeared, based on real events. Already in 1919, fictional films gained a great boost, and local directors (Luis G. Peredo, Enrique Castilla, Enrique Vallejo, Ernesto Vollrat and, mainly, Miguel Contreras Torres) appeared. Highlights at the end of silent cinema were Francisco Garcia Urbiz (Traviesa juventud, 1925, Sacrificio por amor, 1926, and El Punio de Ierro, 1927) and Manuel R. Ojeda (El Cristo de oro, 1927, Conspiracy e El Colo de Murmol, 1928). 1930 to 1950! Ke Viva Mexico!, Sergey Eisenstein, in 1931 (reproduction) Phase of industrial cinema, star system, musical comedy, melodrama and chanchadas. Although the first Mexican sound film M's fuerte que el deber (Rafael Sevilla, 1930) was a box office failure, Santa (Antonio Moreno, 1931) was a blockbuster. Sergey Eisenstein was driving! Let Mexico live! (1931), an unfinished film, but a great influence on future Mexican directors. The film industry in Mexico, launched in 1932, peaked in 1958 (136 films), allowing a long career of filmmakers (Alejandro Galindo, Emilio Fernandez, Fernando de Fuentes and Luis Bunuel), photographer Gabriel Figueroa, comedians Cantinflas and Tin Tan and stars (Pedro Armendaris, Arturo de Cordova, Dolores Rioli). The star system was funded by producers such as Clasa Filmes, distributors such as Pelmex, major studios such as Churubusco, and the promotion of the film never. Argentina experienced its thriving film industry during this period. Since the beginning of sound cinema in the early 1930s, several production companies (Argentina Sono Film, Lumiton and Estudios San Miguel) have been opened, as well as small and medium-sized enterprises. The Argentine star system, following the example of Hollywood, showed excellent directors: Luis Saslavsky (La dama Goblin, 1944); Mario Soffici, with his peasant concentration (Viento norte, 1937, and Prisioneros de la tierra, 1939); Lucas Demare, with a rural theme (La guerra ga'cha, 1942). Other highlights of the 1950s were Hugo Del Carril (Las aguas bajan turbias, 1951); Fernando Ayala, not yet properly appreciated by film historians, with a long career and about forty films; and Leopoldo Torre Nilsson, the son of director Leopoldo Torre Rios, who started as assistant director and co-director of his father's films and made a solo career with more than thirty productions. Stars included Luis Sandrini, Pepe Arias, Juan Carlos Torri, Jose Gola, Enrique Munio, Libertad Lamarque, Tita Merillo, Amelia Bens, Laura Hidalgo, Mecha Ortiz, Sully Moreno, Delia Garcia, Paulina Singerman and Mirta Legrand. Argentine cinema grew to 1950, suffering from contraction since then. Attempt Industrial cinema in Brazil took place since 1930, in Rio de Janeiro since 1949 in Sao Paulo Vera Cruz, Maristela and Multifilms created another star system, with genre cinema and quality films, bringing English, Italian, Argentine and other techniques, in a dream that lasted several years. The films and Brasil Filme, which appeared respectively from the studios Maristela and vera cruz, were producers of short lives. The first Cuban sound film, La serpiente roja, Ernesto Caparrez, in 1937 (reproduction) At this stage of Brazilian cinema were attended by such directors as Luis de Barros, Rui Costa, Moatir Fenelon, Jose Carlos Berle, Watson Macedo, Alberto Pieralisi, Evrides Ramos, J.B. Tanko, Carlos Manga and Victor Lima, with an emphasis on Humberto Mauro, Alberto Cavalcanti and Lima Barreto, who have achieved national and international success. Oscarito, Grande Othello, Anselmo Duarte, Eliana, Anquito, Trindade, Seze Masedo, Jose Liugo, Wilson Gray, Alberto Ruschel, Luigi Picci, Ruth de Souza, Mazzaropi and John Herbert were on the screens. In the 1950s, two currents were revealed: Nelson Pereira dos Santos and Roberto Santos, who broke with established models by offering an independent film in which the director was solely responsible for the final