NEWSLETTER Association for Contemporary Iberian Studies September 2014 Issue

Total Page:16

File Type:pdf, Size:1020Kb

NEWSLETTER Association for Contemporary Iberian Studies September 2014 Issue NEWSLETTER Association for Contemporary Iberian Studies September 2014 issue Inside this Issue ACIS conference……….…….1 Association for Contemporary Spanish Film Iberian Festival……....…………..2 Studies Job Opportunities……3 th 36 Conference Conferences…........……4 UNIVERSITY OF WESTMINSTER, Events………….…....5,6,7 nd th LONDON (UK) 2 to 4 SEPTEMBER 2014 Plenary address: Keith Salmon Rebuilding the Spanish economy: The contribution of the banking sector Dr. Keith Salmon works in the Global Economy and Business Research Unit at the University of Hertfordshire and his series of articles, published in the International Journal of Iberian Studies (vol. 23, issues 1&2) Boom to Bust –Reconstructing the Spanish Economy, charts the passage of the economy into recession and examines conditions in the financial system, property market and labour market in Spain, tracing the political and economic factors that contributed to a protracted recession, accompanied by rapidly increasing sovereign debt and exceptionally high unemployment. 1 THE 10TH LONDON SPANISH FILM FESTIVAL 25TH of September – 5th of October 2014 Now in its 10th year the London Spanish Film Festival offers a wealth of film screenings, talks by directors as well as actors, archive material and sessions of shorts. Some of this year’s highlights are the hilarious opening film, Tres bodas de más, and Sánchez Arévalo's latest comedy-drama, La gran familia española. The Catalan and Basque Window sessions offer film screenings of works produced in Catalan and Basque and a special feature on Vicente Aranda, one of Spain’s most renowned filmmakers, explores his work as well as staging an interview with him. A treasure from the archives this year will be La vida en un hilo, a delightful screwball comedy by Hollywood devotee Edgar Neville, with Conchita Montes, one of Spain's most popular actresses in the 1940s and ‘50s. ACIS Conference: focus on film on Tuesday the 2nd and Thursday the 4th of September!!! 2 * Job Opportunities Lecturer in Catalan Studies (fixed-term) The School intends to appoint a Lecturer in Catalan Studies. The successful candidate will be an expert in modern Catalan literature. Teaching responsibilities include Catalan Culture: Language, History and Art, and Catalan Literature: 1900 – 2010, and the post holder may be required to contribute to Spanish language teaching.The post is full-time and fixed term (1 November 2014 – 31 July 2015). The successful candidate should be able to take up his or her appointment from 1 December 2014. Salary will be in the range of £39,351 - £41,553 per annum, inclusive of London Allowance. Benefits include 30 days annual leave, a defined benefit pension scheme and interest-free season ticket loan.Candidates must be able to demonstrate their eligibility to work in the UK in accordance with the Immigration, Asylum and Nationality Act 2006. Where required this may include entry clearance or continued leave to remain under the Points Based Immigration Scheme.Further details about the post, and application information can be found at: www.hr.qmul.ac.uk/vacancies. Completed applications, including a CV and covering statement should be submitted by 29 August 2014. Teaching Associate in Spanish or Spanish American Studies Based in the Department of Spanish, Portuguese and Latin American Studies, main duties will include teaching andcontributing to the design, delivery and assessment of modules on (i) Spanish or Spanish American film, literature or cultural studies, (ii) Spanish language and (iii) Translation from Spanish into English. Other duties will include supervision of undergraduate dissertations, undertaking of administrative duties as directed by the Head of Department, and acting as a personal tutor for UG students.Applicants should have a first degree (or equivalent) in Hispanic/Spanish studies, and a PhD (or equivalent) in Hispanic/ Spanish studies (or under examination for PhD). They should also have proven expertise in an aspect of Early Modern or Modern Spanish or Spanish American culture, and translation from Spanish into English or in language studies. Native level of fluency in English and native or near-native command of Spanish is also essential.This post is available from 01/09/2014 on a fixed term basis until 31/08/2018 and the hours of work are full-time (36.25 hours per week).Informal enquiries may be addressed to Dr Adam Sharman, Email: [email protected]. 3 * Conferences -Women Writing Across Cultures CONFERENCE AT OXFORD UNIVERSITY, 26 – 28 SEPTEMBER 2014 An international symposium at St Hilda’s College, University of Oxford Friday 26 September to Sunday 28 September 2014 This symposium aims to foster dialogue among researchers and practitioners dealing with women’s writing in a variety of fields: -transnational writing and writing across cultures; -writing across academic disciplines, across the humanities and social sciences, across the arts and sciences; -encounters between the critical and the creative, the academic and the popular, art and life, history and life-writing, orality and literacy, collective and individual authorship, analysant and analyst; -crossing temporal boundaries: women’s writing of the past impacting on the present, imagining futures for women’s writing. Organized by the ‘What is Women’s Writing?’ Interdisciplinary Research Group, supported and funded by The Oxford Research Centre in the Humanities (TORCH). 4 Southwark Playhouse, 7th September The House Of Bernadeta A by Lourdes Ortiz The House of Bernadeta A takes place in a whorehouse in Madrid where Bernadeta and her girls fight to free themselves from the chains of the dominant and egocentric pimp El Romano. The girls will overcome death, jealousy, disillusionment and frustrations in order to take charge of their own lives. Lorca’s classic The House of Bernarda Alba has been brilliantly reimagined for this dramatised reading in English (6pm) and Spanish (7.30pm). Spanish cinema at Cambridge Film Festival 28 August 2014 to 07 September 2014 The Cambridge Film Festival celebrates its 34th edition this year and its programme presents a large number of Spanish films created by talented and brilliant professionals. 5 Fashion: Emilio de la Morena at LFW SS2015 16 September 2014 Spanish designer Emilio de la Morena presents his Spring / Summer 2015 collection at the London Fashion Week in September. This is the tenth time that De la Morena takes part in this event, which is considered as one of the "Big Four" fashion weeks together with those held in New York, Milan and Paris. Since Emilio de la Morena was awarded with the New Generation Prize in 2005, he is a regular designer at this event. Born in Spain, Emilio de la Morena studied sculpture whilst in Spain, and came to the UK some 12 years ago to study business. It was whilst he was working as a consultant in London that he discovered his passion for fashion design. He decided to study at the Saint Martins College of Arts and Design and continued his studies at the London College of Fashion. After working at the studios of Rafael Lopez, Jonathan Saunders or Michiko Koshino, he founded his own brand in 2005. Spanish and Latin American classical music concerts 23 September 2014 to 18 November 2014 The Instituto Cervantes in London presents, in collaboration with the Iberian and Latin American Music Society, a series of concerts which aims to promote Spanish and Latin American classical music as well as to offer an auditorium to young musicians with very promising careers. Tuesday 23rd September 2014 Concert by the guitarist Manus Noble. He will play works by Piazzolla, Brouwer, Dyens, Barrios, Yocoh, Ryan, Albéniz and Noble. Tueday 21st October 2014 Concert by TangOpera, duet formed by soprano Amaia Azcona Cildoz and pianist Helen Glaisher-Hernández. The duo will perform works by Guastavino, Montsalvatge, Estévez, Santoro and Piazzolla. Tuesday 18th November 2014 Concert by the Roncesvalles Duo, formed by guitarist Francisco Javier Jaúregui and violinist Elena Jáuregui, and special guest Gúdrun Ólafsdóttir (mezzosoprano). They will perform works by Jáuregui, García Lorca, Morales, Castilla-Ávila, del Puerto and Barber. 6 Collisions Festival, London 27 September 2014 to 30 September 2014 HisPanic Breakdown presents its theatre production ‘The Copla Musical’ at the Collisions Festival on September 27, 28 and 30. This piece, which is an original play inspired by traditional Spanish folk songs, tells the story of a drag artist (La Gitana) during the last stages of the Spanish Civil War and the beginning of the Franco’s dictatorship. Freed from prison by Republican revolutionists, La Gitana is set on a mission to spy on the forces that captured her. HisPanic Breakdown is a young theatre company dedicated to develop and showcase original collaborations between English and Spanish artists. Its artistic mission addresses the depiction of traditional culture and folklore through contemporary new writing and its projects deal with current social issues such as immigration or sexual minorities. The Place, London: ‘Idiot-Syncrasy’ by Igor and Moreno 30 September 2014 to 01 October 2014 After their successful performances during the spring season, the dancers Igor Urzelai and Moreno Solinas return to scene and perform again their work ‘Idiot-Syncrasy’ in London. ‘Idiot-Syncrasy’ is a jumping and quirky piece that reflects about the commitment to a cause and the perseverance despite feeling idiots when trying to change the world. Inspired by their folk Sardinian and Basque tradition, the two
Recommended publications
  • Rafael Gil Y Cifesaenlace Externo, Se
    Cuerpo(s) para nuestras letras: Rafael Gil y CIFESA (1940-1947) José Luis Castro de Paz Catedrático en la Universidad de Santiago de Compostela Texto publicado como introducción del libro: Rafael Gil y CIFESA, Filmoteca Española-Ministerio de Cultura, Madrid, 2007 Cuerpo(s) para nuestras letras: Rafael Gil y CIFESA (1940-1947) Para mis hijas, Beatriz y Alejandra Cuando empecé a hacer cine, pude realizar el cine con el que siempre había soñado. Leía a Galdós, a Unamuno, o a Fernández Flórez y pensaba: ‘¡Qué gran película hay aquí!’. Por eso mis primeras películas son cuentos de Fernández Flórez, de Alarcón, de Jardiel Poncela, etc. Rafael Gil 0. Introducción. Los inicios cinematográficos de Rafael Gil. La administración y el cine después de la Guerra Civil. Nacido el 22 de mayo de 1913 en el Teatro Real de Madrid, del que su padre licenciado en filosofía y letras, abogado y catedrático de latín era conservador, y acostumbrado al ambiente artístico y cultural desde muy joven, Rafael Gil estudia bachillerato en el Colegio de San José, integrado en el Instituto de San Isidro, donde desarrolla una juvenil pero ya profunda afición a la literatura y al cine. Crítico desde muy temprana edad tras serle aceptados los primeros textos que envía a la revista Gran Sport en 1930, publicará artículos sobre cinematografía y críticas de estreno tanto en periódicos (Campeón, 1933-34; La Voz 1931-32; ABC, 1932-36) como en las más importantes revistas especializadas durante la II República (Popular Films, Films Selectos, Nuestro Cinema), sin faltar tampoco asiduas colaboraciones radiofónicas y una no menos activa labor de organizador y difusor de actividades cinematográficas.
    [Show full text]
  • Edgar Neville
    UNA ARROLLADORA SIMPATÍA: EDGAR NEVILLE De Hollywood al Madrid de la posguerra Juan A. Ríos Carratalá ÍNDICE I. Un encuentro de viejos amigos II. Un mal día para volver a España II.1. La última lectura de un poeta y amigo II.2. Los españoles y la canalla II.3. Recuerdos de unos años felices I.4. Un error a expiar III. Madrid, 18 de julio de 1936 IV. A Londres con paradas intermedias V. En París con Don Pedro Hambre y otros amigos VI. Salamanca, 1937: Un forjador imprevisto de la nueva España VII. Haciendo méritos VIII. De la pensión al convento: el caso de Conchita Montes IX. Edgar Neville, propagandista al servicio del bando nacional X. Una película polémica: Frente de Madrid XI. Un hueco entre los vencedores XII. ¿Un batallón de peluqueros? XIII. Bibliografía XIV. Cronología de Edgar Neville «El falangismo desencadenó entre los jóvenes una especie de neorromanticismo, con la preferencia del vivir apasionado y peligroso sobre el vivir habitual y racionalizado, del acto heroico sobre la ley inteligente y de la compañía de soldados o la parada de masas sobre la asamblea de jurisperitos o el comicio electoral. El cultivo retórico de es ta em briaguez de estilo permitiría luego llamar revolución a una operación de policía y, lo que es más grave, vivirla espiritualmente como si lo fuera» (Dionisio Ridruejo, 1962) «Aristóteles dijo, y es cosa verdadera, que el hombre por dos cosas trabaja: la primera, por el sustentamiento, y la segunda era por conseguir unión con hembra placentera. Si lo dijera yo, se podría tachar, mas lo dice un filósofo, no se me ha de culpar.
    [Show full text]
  • 'Domin60 De Carnavat: Un Cine De Diversión Y Crimen
    'DOMIN60 DE CARNAVAT: UN CINE DE DIVERSIÓN Y CRIMEN GERARD DPPMA es Reconocido desde hace tiempo como uno de Ic 1s directore!S más importantes y origi- dodorando en H'stona dd Arte en el Gaduate Center nales del cine español, Edgar Neville sigue merec:iendo una atención especial más allá de la Ciry Unrvenny de Nuwa de las aportaciones desarrolladas en ocasión de las conmemoraciones por el cente Yok. Es también profesor de Historia del Arte y del Cine nario de su nacimiento'. La complejidad de su contribución al cine español en la época en la Parsons SC~OOIof franquista, un modelo de independencia que consiguió prosperar dentro de los estre Design y en el City Collepe. en la misma ciudad En la chos confines de una industria cinematográfica tan controlada,' se configura como un actualidad edá teminando una iw?!Zgacióri sobre las temtorio cuya exploración necesita. y necesitará, estudios pormenorizados. relaciones enbe cine Neville se nos aparece como un hombre de contradicciones y paradojas, y no sólo y pintura ei, ei cine español de los años cuarenta. por la combinación de su talante aristocrático y cosmopolita con su gusto por lo popu- lar. Su relación con el gobierno de Franco también está jalonada de ambigüedades. 1. En los últimos dos años han aoarec~dodos estudios Su defensa de un cine popular inspirado en el sainete costumbrista atrajo la furia de imwflanies mbre Nwilie: los sectores más inmovilistas del régimen, que preferían un cine militante y militarista. José Mana Tornjos (ed.). La lu? en la rntoda lhladtid. Neville, en cambio, se propuso hacer un cine personal, lejos del triunfalismo y la pro- Ministerio de Educación y Cultura.
    [Show full text]
  • Multicultural Iberia: Language, Literature, and Music
    Multicultural Iberia: Language, Literature, and Music Edited by Dru Dougherty and Milton M. Azevedo Description: Since medieval times, Catalonia has been a source of cultural expression that has ranged far beyond its present-day geographic borders. The uncommon diversity of its languages, literature in both Catalan and Spanish, and popular culture is studied in this volume by scholars from the United States and Spain who met in Berkeley in 1997 to celebrate the tenth anniversary of the Gaspar de Portola Catalonia Studies Program. The dialogue between Catalonia and the other regions of the Iberian Peninsula is both analyzed and continued in this collection of essays by outstanding specialists in linguistics, literature, musicology, digitized media, and cultural studies. RESEARCH SERIES / NUMBER 103 MULTICULTURAL IBERIA: LANGUAGE, LITERATURE, AND MUSIC Dru Dougherty and Milton M. Azevedo, Editors UNIVERSITY OF CALIFORNIA AT BERKELEY Library of Congress Cataloging-in-Publication Data Multicultural Iberia : language, literature, and music / Dru Dougherty and Milton M. Azevedo, editors. p. cm. — (Research series ; no. 103) Includes bibliographical references ISBNB 0-87725-003-0 1. Catalan philology. 2. Catalonia (Spain)—Civilization. I. Dougherty, Dru. II. Azevedo, Milton Mariano, 1942– . III. Series: Research series (University of California, Berkeley. International and Area Studies) ; no. 103. PC3802.M85 1999 449’.9—dc21 99-22188 CIP ©1999 by the Regents of the University of California CONTENTS Acknowledgments vii Introduction Dru Dougherty
    [Show full text]
  • María De La Hoz: Tono Y Mihura En Las Trincheras
    MARÍA DE LA HOZ: TONO Y MIHURA EN LAS TRINCHERAS Julián MOREIRO ÍES Ciudad de los poetas (Madrid) Para el grupo de humoristas que alcanzó la madurez mediada la déca­ da de los veinte, y que podríamos denominar «Generación de Gutiérrez» por haber dejado casi todos ellos una muestra acabada de su maestría en las páginas de aquella revista madrileña dirigida por K-Hito, la guerra ci­ vil supuso, como para tantos otros creadores, una experiencia traumática, por más que la vivieran con una cierta distancia en la mayoría de los casos. Y ha de tenerse en cuenta la repercusión del drama en sus vidas y en sus trayectorias profesionales pues, en caso contrario, la historia del humor durante el primer franquismo se entenderá mal. Edgar Neville, Jardiel Poncela, López Rubio, Tono, Mihura y Anto- niorrobles, los más sobresalientes herederos de Ramón Gómez de la Ser­ na, habían renovado el concepto del humor con sus colaboraciones en las audaces revistas aparecidas durante la década de los veinte; además, los cuatro primeros, habían vivido en Hollywood una experiencia insólita (de la que no parece que supieran sacar mucho partido) como adaptadores de diálogos. Sucedía eso en los años treinta, mientras la II República iniciaba su azarosa existencia. Con la excepción de Antoniorrobles, que asumió su compromiso y vivió tras la contienda largos años en el exilio, ninguno de los citados mostró entusiasmo alguno por la nueva situación política española, si bien optaron por un prudente retraimiento acorde con su pro­ pensión al abstencionismo como norma de vida; cabe señalar, no obstante, el caso excepcional de Edgar Neville, que militó en Izquierda Republicana Anales de Literatura Española, 19 (2007), pp.
    [Show full text]
  • Fotografía Y Puesta En Escena En El Film Español De Los Años 1940-50 1 Vicente Sánchez-Biosca
    w View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Repositori d'Objectes Digitals per a l'Ensenyament la Recerca i la Cultura Fotografía y puesta en escena en el film español de los años 1940-50 1 Vicente Sánchez-Biosca 1. Cuestiones de método cine español de los años cuarenta y cincuenta en los momentos de auge del modelo narrativo hollywoodense que, Hablar de los directores de fotografía en el cine español por extensión, constituirá el sistema hegemónico también en durante los años cua renta y cincuenta plantea de entrada dos Europa, aun reconociendo todos los conflictos que esta se ries de problemas que no parece lógico ni lícito eludir: en definición encierra. He ahí cómo se perfila el período que va primer lugar, el sentido (si lo hubiere) de una posible a ser estudiado en estas páginas: una aparente periodización y de sus dificultades; en segundo, una temática homogeneidad, extraída de la planificación cinematográfica de método, a saber, la función de la fotografía en la puesta clásica que preside el período, da paso a una manifiesta en escena del film y la legitimidad de su abordaje. (y aun extrema) heterogeneidad, no sólo porque el período clásico no es tan uniforme como pudiera pensarse a simple En lo que se refiere al primero de estos aspectos, convendría vista, sino sobre todo porque la fotografía introduce aspectos seña lar un evidente límite inferior, de índole tanto histórica que entran en colisión con la misma transparencia narrativa como técnica: el final de la guerra civil española.
    [Show full text]
  • The Intertextual Relationship Between Federico García Lorca and Croatian
    2021-4383-AJP-LIT 1 The Intertextual Relationship between Federico García 2 Lorca and Croatian Modern Poetry 3 4 The paper "The Intertextual Relationship between Federico García Lorca 5 and Croatian Modern Poetry" will analyze the intertextual and quotation 6 relationship between the cult Spanish poet and poets who marked the 7 beginning of a completely new development path of Croatian poetry in the 8 second half of the 20th century. These are the poetic opuses of Jure 9 Kaštelan, Drago Ivanišević and Vesna Parun. Their poetic opuses 10 introduced a specific Lorquian poetics of Surrealism into Croatian poetry, 11 merging it with the Croatian tradition of Mediterraneanism (thematization of 12 Mediterranean landscape images and symbols). At the stylistic level, the 13 impact on versification (rhythm), colored language, metaphoricity, and 14 pictoriality will be analyzed. 15 16 Keywords: Modern Croatian poetry, Federico García Lorca, Drago 17 Ivanišević, Jure Kaštelan, Vesna Parun 18 19 20 Introduction 21 22 As a poet, playwright and painter, Federico García Lorca (1898–1936) 23 undoubtedly had an influence on the development of 20th century European 24 literature. The genius of his art, but also his tragic death at the very beginning 25 of the Spanish Civil War meant that Lorca would on the one hand 26 posthumously forever embody the legend of the murdered poet (Machado’s 27 poem “The crime happened in Granada” attained legendary status), but on the 28 other, his poetic and dramatic work remains an unending inspiration and a 29 source of intertextual ties in national literatures of Europe and the Middle East 30 to this day1.
    [Show full text]
  • GD-Update-July18.Pdf
    TOP Health & HB ID TH ID GTA ID Hotel name PRB Only NEW Category Chain Destination Dest code Zone Country Region Subregion Address PRIORITY Safety 219 1031778 CHID_92 Vincci Costa Golf NEW 4EST VINCCI HOTELES Costa de la Luz (Cadiz) LUZ Chiclana - Sancti Petri Spain EUROPE & AFRICA Iberia & Africa 4* URB NOVO SANCTI PETRI, Chiclana De La Front,11130 1092 1209498 SNMI_93 Vincci Tenerife Golf NEW 4EST VINCCI HOTELES Tenerife TFS Golf del Sur Spain EUROPE & AFRICA Iberia & Africa 4* URBANIZACIÓN GOLF DEL SUR, GOLF DEL SUR,38620 1224 1203135 MAD_VING Vincci Capitol NEW 4EST VINCCI HOTELES Madrid MAD Gran Vía Spain EUROPE & AFRICA Iberia & Africa 4* GRAN VIA, 41, MADRID,28013 2598 1031785 SVQ_VIN Vincci la Rabida NEW 4EST VINCCI HOTELES Seville SVQ Sevilla Spain EUROPE & AFRICA Iberia & Africa 3* CALLE CASTELAR, 24, SEVILLA,41001 2608 1031781 VLC_VIN Vincci Lys NEW 4EST VINCCI HOTELES Valencia VLC Valencia Spain EUROPE & AFRICA Iberia & Africa 4* CARRER DE MARTINEZ CUBELLS, 5, VALENCIA,46002 3925 1474345 PUEA_98 Flamingo Vallarta Hotel & Marina NEW H3_5 Puerto Vallarta PVR Marina Vallarta Mexico AMERICAS LATAM 1* PUERTO IGUANA 136 COL. MARINA VALLARTA, PUERTO VALLARTA,48335 4175 1511904 BCN_94X Vincci Mae NEW 4EST VINCCI HOTELES Barcelona BCN Eixample Spain EUROPE & AFRICA Iberia & Africa 4* AVINGUDA DIAGONAL, 596, BARCELONA,08021 4569 BCN_92J Vincci Maritimo NEW 4EST VINCCI HOTELES Barcelona BCN Passeig Maritim / Platja Spain EUROPE & AFRICA Iberia & Africa 4* CARRER DE LLULL, 340, BARCELONA,08019 4660 1031782 SDR_VIN Vincci Puerto Chico
    [Show full text]
  • Cine Y Ametralladora (Edición De Pío Caro Baroja, Cátedra, Letras Hispanas, Madrid, 1989)
    LAS INQUIETUDES DE SHANTI ANDÍA [THE RESTLESSNESS OF SHANTI ANDÍA]: SPANISH CINEMA AND LITERARY MARITIME ADVENTURES IN THE 1940s Diana Callejas Pérez Universidad Autónoma de Madrid By looking at Las inquietudes de Shanti Andía [The Restlessness of Shanti Andia] filmed in1947 by Arturo Ruiz-Castillo , we will do a study of the relationship between film and literature, especially and concretely in terms of Ruiz-Castillo’s film and the literature of the Generation of 98 in the 1940s. This film would be the first feature film of this director from Madrid, and it is based on the novel of the same name by Pío Baroja from 1911. Through this comparative analysis of the film and the Basque author’s novel, we will discover attractive concomitances and interesting differences, all of them very suggestive at a visual and narrative level. One of them will be the parallel personalities (Baroja in Shanti in the book as viceversa in the film), there being at the same time a very evident parallelism between the work Pío Baroja, Ruiz-Castillo and Pío’s brother, Ricardo Baroja, passing the same elements from one medium to another. It is a case of the “romantic sea” which unifies the works of the three creators in literature, in film, and in painting or etching, respectively. Because of the peculiarities we find in the above-mentioned film and its literary story, we will discover a world hardly investigated in the history of Spanish cinema as is the adventure genre, in this case, adventures taking place at sea. Through the comparison between Las inquietudes de Shanti Andía and La nao capitana [The Flagship Nao](contemporary films with the representation of the sea in common) we will try to explain why an historical vacuum exists in the treatment of this genre in Spain in the 1940s, bringing to bear new (re)visions of the figure of Ruiz-Castillo, one of the filmmakers celebrated in this volume.
    [Show full text]
  • Madrid As a Movie Set
    MADRID AS A MOVIE SET PRESS KIT CONTENTS 1. The Gran Vía 2. The Cinemas on the Gran Vía 3. The Gran Vía as a Movie Set 4. Chicote: a Living History of Cinema on the Gran Vía 1 1. The Gran Vía The Gran Vía is the main communications, transit, and cultural artery of the City of Madrid. Inaugurated in 1910 by King Alfonso XIII, the Gran Vía has been, remains, and will continue to be an important emblem of the city of Madrid from the perspectives of commerce, tourism, and leisure. In this latter category, the Gran Vía is famous for its cinemas, which have always been home to the Seventh Art’s most prominent film premieres to the people of Madrid. In recent years, some of the Gran Vía’s cinemas have been remodeled to host their own versions of musical productions for the stage, to such an extent that the stretch between the Plaza de Callao to the Plaza de España has become known as “the Broadway of Madrid”. However, the Gran Vía will continue to be a cinematographic hub in Madrid, being the symbolic protagonist for film premieres and the exceptional filming location it has always been for both Spanish and international productions. 2 2. The Cinemas on the Gran Vía Cine Torre de Madrid (Sala Heineken) The Torre de Madrid, one of the city’s tallest buildings, was constructed between 1954 and 1957, reaching a height of 142 meters. Architectural work was charged to the Otamendi Machimbarrena brothers, a project given to them shortly after their having constructed the Edificio España, caddy corner from the Torre de Madrid, and also with a façade onto the Plaza de España.
    [Show full text]
  • Edgar Neville
    UNA ARROLLADORA SIMPATÍA: EDGAR NEVILLE De Hollywood al Madrid de la posguerra Juan A. Ríos Carratalá ÍNDICE I. Un encuentro de viejos amigos II. Un mal día para volver a España II.1. La última lectura de un poeta y amigo II.2. Los españoles y la canalla II.3. Recuerdos de unos años felices I.4. Un error a expiar III. Madrid, 18 de julio de 1936 IV. A Londres con paradas intermedias V. En París con Don Pedro Hambre y otros amigos VI. Salamanca, 1937: Un forjador imprevisto de la nueva España VII. Haciendo méritos VIII. De la pensión al convento: el caso de Conchita Montes IX. Edgar Neville, propagandista al servicio del bando nacional X. Una película polémica: Frente de Madrid XI. Un hueco entre los vencedores XII. ¿Un batallón de peluqueros? XIII. Bibliografía XIV. Cronología de Edgar Neville «El falangismo desencadenó entre los jóvenes una especie de neorromanticismo, con la preferencia del vivir apasionado y peligroso sobre el vivir habitual y racionalizado, del acto heroico sobre la ley inteligente y de la compañía de soldados o la parada de masas sobre la asamblea de jurisperitos o el comicio electoral. El cultivo retórico de es ta em briaguez de estilo permitiría luego llamar revolución a una operación de policía y, lo que es más grave, vivirla espiritualmente como si lo fuera» (Dionisio Ridruejo, 1962) «Aristóteles dijo, y es cosa verdadera, que el hombre por dos cosas trabaja: la primera, por el sustentamiento, y la segunda era por conseguir unión con hembra placentera. Si lo dijera yo, se podría tachar, mas lo dice un filósofo, no se me ha de culpar.
    [Show full text]
  • The Production of Madrid in Early Franco Spain Adam Lee Winkel
    Zones of Influence: The Production of Madrid in Early Franco Spain Adam Lee Winkel Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2014 © 2014 Adam Lee Winkel All Rights Reserved ABSTRACT Zones of Influence: The Production of Madrid in Early Franco Spain Adam Lee Winkel Within Spanish cultural studies, urban studies have become increasingly popular in the last twenty years. While this literature covers a wide range of Spanish locales and historical periods, there are still few comprehensive analyses of the production of Madrid’s urban space between the Civil War and the economic boom of the 1960s. This dissertation contributes to the field through the examination of the symbolic production and use of Madrid during the first decades of the Franco dictatorship. I argue that the disciplining of Madrid’s urban space was a means of organizing the capital’s citizens into ordered subjects during a time of transition. This process was carried out primarily through the creation of expectations of how the spaces around the urban subject were best lived. My analytical approach is based on case studies and close readings of films, novels, and official documents such as speeches, maps, laws, and urban policies that were produced during the 1940s and 50s. It is an interdisciplinary study of the disciplining of Madrid and its inhabitants. The dissertation is organized spatially; each chapter focuses on a different aspect of Madrid’s urban fabric, which extends outward in a series of concentric circles.
    [Show full text]