The Mexican Film Bulletin Celebrates Its 25Th Ramírez That Won the Under-17 World Championship in Anniversary in 2019

Total Page:16

File Type:pdf, Size:1020Kb

The Mexican Film Bulletin Celebrates Its 25Th Ramírez That Won the Under-17 World Championship in Anniversary in 2019 TheThe Mexican Mexican Film Bulletin Volume Film 25 Number Bulletin 1 (March 2019) Volume 25 Number 1 March 2019 Deschamps, who was married to futbol coach Jesús Ramírez, later produced, directed and wrote Campeones, our 25th Year! a docu-drama about the Mexican teamed coached by The Mexican Film Bulletin celebrates its 25th Ramírez that won the under-17 world championship in anniversary in 2019. 2005. Obituaries Albert Finney British actor Albert Finney died in a London hospital Christian bach on 7 February 2019; he was 82 years old. Finney was Actress and producer Christian Bach died of heart born in Lancashire, failure on 26 February 2019; she was 59 years old. England, in May 1936 Adriana Christian Bach and attended the Royal Bottino was born in Academy of Dramatic Argentina in 1959; she Art. He made his received a law degree but professional debut in became an actress 1956, and went on to instead, appearing in at appear on the stage, least one film and television, and in films. telenovela in her native Finney was nominated land. Relocating to for five Academy Mexico at the end of the Awards. His last film 1970s, Bach became a was Skyfall (2012). popular telenovela Finney starred in Under the Volcano (1984), a U.S.- actress, also appearing in Mexican coproduction directed by John Huston that was a handful of films. In shot mostly in the state of Morelos. 1986 she co-starred with actor Humberto Zurita in a telenovela and they were subsequently married and had two children (one of whom, Sebastián Zurita, is an Olivia García actor). Former actress Olivia García Leyva died in mid- Bach’s films include Gavilán o paloma, El hombre de February 2019 (her death was blanco, El secreto, and Deseo (2013, her last feature announced by her daughter film). Her last television appearance came in 2014. Bach around 19 February). García, and Zurita also produced films and television programs born in Acapulco, finished 3rd in in the 1990s and 2000s. She is survived by her husband the 1967 Miss Mexico contest and sons. and became an actress several years later. She appeared in some early ‘70s films such as Lourdes deschamps Las reglas del juego and La Actress and producer Lourdes fuerza inútil, and later had a Deschamps died on 28 December recurring role on the “El Chavo 2018. María de Lourdes del 8” television series. García was married to business Deschamps Briones began acting magnate Carlos Peralta; they had 3 children, including in the early 1990s, appearing on television personality Olivia Peralta. television, in films, and in videohomes. In 2005 she produced the feature film Como tú me has maty huitrón deseado, directed by Juan Andrés Actress Maty Huitrón died on 14 January 2019; she Bueno. In 2010 she teamed up was 82 years old and had been suffering from with Bueno again, co-directing and co-scripting emphysema. Martina Guitron Porto was born in Mexico Apasionado Pancho Villa aka Villa, intinerario de una City in January 1936. She began appear in films in the pasión. 1 The Mexican Film Bulletin Volume 25 Number 1 (March 2019) early 1950s, including directed by Julio Bracho. Montero married Bracho Mi papá tuvo la culpa, shortly afterwards and appeared Cuarto de hotel, and El in two more films directed by him casto Susano and (the marriage ended in 1957). continued to work in the Monteros later worked in a cinema into the 1970s number of international and beyond. Huitrón productions, including The and Argentine actor Magnificent Seven, She, and Carlos Estrada had 3 Cauldron of Blood, as well as the daughters. One of their occasional Mexican film, but children, Carla Estrada, spent much of her later career in later became a major the theatre. telenovela producer who often cast her mother in important roles. Thelma Tixou Actress and dancer Thelma Tixou died on 15 January Fernando Luján 2019 of complications after undergoing surgery for a Actor Fernando Luján, brain tumour; she was 75 years of age. Thelma Delia an actor for eight decades, Sukiennik was born in Argentina in May 1944; her died of chronic pulmonary parents were Lithuanian and Polish refugees from obstructive disease on 11 Europe. She became a popular vedette in her home January 2019. Fernando country, appearing in at least one film there, but Ciangherotti Díaz was relocated to Mexico in born in Bogotá, Colombia the late 1970s. in August 1939--his Tixou appeared parents, actors Alejandro regularly in live venues Ciangherotti and and on television, and Mercedes Soler (sister to can be seen in a handful the famous Soler brothers of films, including Domingo, Fernando, Jodorowsky’s Santa Andrés and Julián), were Sangre and Cándido in that city on a theatrical Pérez, especialista en tour. Luján made his acting debut at age 7; in 1953 he señoras. changed his professional name to Luján “because Ciangherotti was too long for theatre marquees” (also, his father and brother were both acting under the family Jan-michael vincent name). From this point on, Luján worked steadily in Actor Jan-Michael films, on television, and on the stage until 2018. Vincent died of heart Fernando Luján’s films include La Sombra en defensa failure on 10 February de la juventud (starring his father and also featuring his 2019; he was 73 years old. older brother), El pueblo fantasma (as a vampire Vincent was born in cowboy), Agente 00 Sexy, Estas ruinas que ves, Dos Colorado in July 1945 and cuates a todo dar, En el país de no pasa nada, El coronel made his acting debut in no tiene quien le escriba and Cinco días sin Nora (for The Bandits, a U.S.- which he won the Best Actor Ariel). Mexican co-production Luján had 10 children, several of whom entered the shot in 1966. He entertainment business, including Cassandra continued to work in films Ciangherotti, Fernando Ciangherotti, Vanessa and television until the early 2000s, achieving his Ciangherotti, and Fernando Canek. greatest success in the 1980s television show “Airwolf.” Vincent experienced substance abuse issues which resulted in various legal and physical problems, Rosenda monteros including a 1990s automobile crash that permanently Actress Rosenda Monteros died on 29 December damaged his voice. He also had a leg amputated in the 2018 at the age of 83. Rosa Méndez Leza was born in 2010s. Veracruz in August 1935. She studied acting with Seki Sano and made her film debut in 1954 in Reto a la vida, 2 The Mexican Film Bulletin Volume 25 Number 1 (March 2019) Popular singer José Carlos Ruiz [it is amusing in retrospect to see Infante's character have the same name as a later, well-known Mexican character actor] meets Black & white and falls in love with Ana Luisa, a rather repressed young woman who lives alone in a large house with her black "nana." They decide to get married, but Nana Mercé opposes the union . She tells friendly priest Padre Francisco that she is Ana Luisa 's mother--she was a servant in the home of Ana Luisa's father, and became pregnant by him; when Ana Luisa was born, the father agreed to recognize her as his legitimate heir, but only on the condition that Nana Mercé hide the fact that she was the girl's mother. Angelitos negros [Little Black Angels] (Prods. Rodríguez Hermanos, 1948) Exec Prod: Ramón Peón; Dir/Scr: Joselito Rodríguez; Adapt/ Story: Rogelio A. González; Photo: José Ortíz Ramos; Music: Raúl Lavista, Nacho García; Prod Mgr: Manuel R. Ojeda; Prod Chief: Armando Espinosa; Asst Dir: Jorge López Portillo; Film Ed: Fernando Martínez; Art Dir: Carlos For unexplained reasons, Ana has grown up with strong Toussaint; Camera Op: Manuel González; Choreog: racist attitudes (she refuses to shake the hand of Julien de Meriche; Makeup: Román Juárez; Dialogue Fernando, José Carlos 's black friend, and later persuades Rec: Luis Fernández; Music Rec: Jesús González G. him not to attend her wedding). Immediately after the Cast: Pedro Infante (José Carlos Ruíz), Emilia Guiú wedding, José Carlos and Ana Luisa leave for an (Ana Luisa de la Puente), Rita Montaner (Nana Mercé), extended tour of South America. Upon their return, Ana Titina [Romay] (Belén), Chela Castro (Chabela), Nicolás Luisa gives birth to a baby girl--who is black! Ana Luisa Rodriguez (Padre Francisco), Antonio R. Frausto (don is shocked, and blames José Carlos (accusing him of Laureano), Mary Douglas (Malú del Rey), Juan Pulido having black blood); Nana Mercé tells José Carlos the (Idelfonso Sánchez), Chimy Monterrey (Fernando truth, but Padre Francisco convinces them Ana Luisa Valdés), Óscar Pulido (Barud, jewelry salesman), should be kept in the dark, due to her delicate emotional Ramiro Gamboa (announcer), Silver Flyers (skaters), state. María Victoria Llamas (daughter of reporter), Pita Time goes by. José Carlos dotes on his young Martínez (singer), Cuarteto América, Meride y Pastor, daughter, Belén, but Ana Luisa is cold towards the child. Marta Prado, Lupe Carriles (teacher), Joselito Rodríguez The situation (man with sailor cap), Ramón Peón (Argentine emcee), comes to a Ignacio Peón (wedding guest), Kika Meyer (nurse). head, and Ana Elodía Hernández (teacher), Daniel Arroyo (doctor) Luisa— Notes: While Pedro Infante is often remembered for reacting to a his proletarian "everyman" roles in films like Nosotros blow struck in los pobres, and for his rancheras, he also appeared in a anger by José number of glossy, “society" films throughout his career . Carlos—leaves Angelitos negros is one of these, a florid melodrama set home. Belén in upper-class environs, with the attendant sets and falls ill and costumes. This is a rather atypical Infante film with calls for her regards to his performance as well, since he is relatively mother, who is restrained and—while he is the star and features in most not there.
Recommended publications
  • Mexican Movie Stills, 1937-1985
    http://oac.cdlib.org/findaid/ark:/13030/ft2r29n6mt No online items Guide to the Mexican movie stills, 1937-1985 Processed by Special Collections staff. Department of Special Collections Green Library Stanford University Libraries Stanford, CA 94305-6004 Phone: (650) 725-1022 Email: [email protected] URL: http:/library/stanford.edu/spc/ © 2002 The Board of Trustees of Stanford University. All rights reserved. Guide to the Mexican movie stills, M1049 1 1937-1985 Guide to the Mexican movie stills, 1937-1985 Collection number: M1049 Department of Special Collections and University Archives Stanford University Libraries Stanford, California Contact Information Department of Special Collections Green Library Stanford University Libraries Stanford, CA 94305-6004 Phone: (650) 725-1022 Email: [email protected] URL: http:/library/stanford.edu/spc/ Processed by: Special Collections staff Date Completed: 1999 Encoded by: Steven Mandeville-Gamble © 2002 The Board of Trustees of Stanford University. All rights reserved. Descriptive Summary Title: Mexican movie stills, Date (inclusive): 1937-1985 Collection number: M1049 Extent: 10 linear ft. (7,124 photographs from 606 movies) Repository: Stanford University. Libraries. Dept. of Special Collections and University Archives. Abstract: This collection contains still images from 606 movies from the heyday of the Mexican movie industry. The collection is a rich pictorial resource documenting hundreds of Mexican actors and actresses. Language: English. Access None. Publication Rights Property rights reside with the repository. Literary rights reside with the creators of the documents or their heirs. To obtain permission to publish or reproduce, please contact the Public Services Librarian of the Dept. of Special Collections. Preferred Citation Mexican movie stills.
    [Show full text]
  • Rumberas and Ficheras Cinema: Two Alternative Sides of the Same Coin
    ISSN electrónico: 2172-9077 DOI: https://doi.org/10.14201/fjc202020163180 EL CINE DE RUMBERAS Y FICHERAS: DOS CARAS ALTERNATIVAS DE UNA MISMA MONEDA Rumberas and Ficheras Cinema: Two Alternative Sides of the Same Coin Dra. Silvana FLORES Investigadora. Universidad de Buenos Aires, Argentina E-mail: [email protected] https://orcid.org/0000-0003-0991-029X Fecha de recepción del artículo: 10/01/2020 Fecha de aceptación definitiva: 18/02/2020 RESUMEN A través de este artículo, estableceremos un estudio comparado sobre las figuras de las rumberas y las ficheras, en el contexto de los correspondientes films en los que fueron protagonistas, para dar a entender las diferencias y continuidades que estos personajes han ofrecido al cine mexicano a lo largo de las décadas. Para ello también analizaremos cómo funcionan los rasgos genéricos de ambas vertientes en dos películas prototípicas de aquellas épocas, Víctimas del pecado (Emilio Fernández, 1951) y Bellas de noche (Las ficheras)(Miguel M. Delgado, 1975), realizadas bajo la égida de la familia de productores Calderón. De ese modo, evidenciaremos que más allá de las distancias existentes entre ambas clases de films existe un eje que atraviesa la historia del cine mexicano en pos de la descripción de los espacios escabrosos del arrabal y el cabaret, en donde la estigmati- zación aleccionadora va cediendo lugar progresivamente a una mirada más naturalizada y superficial sobre los tópicos en ellas desplegados. Palabras clave: rumberas; ficheras; México; cine; transnacionalidad. ABSTRACT In this article, we will establish a comparative study of the figures of the rumberas and ficheras in the context of the films starred by them, in order to observe the differences and continuities they offered to Mexican cinema through dec-ades.
    [Show full text]
  • 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.
    [Show full text]
  • P Ar Ticip Antes
    Mujercitas Louisa May Alcott Sesión 88 ... 24 de febrero de 2017 • Amanda Rodríguez Álvarez. ............ 02 • Ana María Rojas Rodríguez ............. 03 • Andrea Karolina Mora Macias ........... 04 • • Andrea Milagros Ortega Silva ........... 05 • Brenda Guadalupe Martínez Andrade .... 07 • Claudia Gabriela castillo Ramos ......... 08 • David Fernando Esparza Esparza. ........ 09 • Isela García Muñoz .................... 11 • Jazmín Luévano Guevara .............. 13 • Jorge Alonso Ramírez Márquez .......... 14 PARTICIPANTES • José Alfredo Zuñiga Esparza ............ 15 • Juan Rafael Medina Marmolejo. ......... 16 • Avalos Tiscareño Karen Alexia .......... 17 • Liliana López Beltrán .................. 18 • Luis Fernando Montoya Covarrubias ..... 19 • Luis Fernando Ramírez Ramírez ......... 21 • • Luz Adanelly Rodriguez Saucedo ........ 22 • María Fernanda Juárez Cruz ............ 23 • Miriam Anahi López Carrillo ............ 25 • Nallely Guillén Rodríguez ............... 27 • Olivia Aranzazú Molina Díaz ............ 28 • Sergio Rodriguez. 29 • Vanessa Irais de la Garza López ......... 30 Mujercitas Autor: Louisa May Alcott Aportación de: Amanda Rodríguez Álvarez. Lo bueno: Para una novela publicada en 1868, dre y les dijo que cerca de su casa había una familia me sorprende aún más lo progresista que es el con una señora muy enferma con muchos hijos e personaje de Jo. Una protagonista fuerte que se incluso uno recién nacido. Las niñas fueron con su desenvuelve brillantemente en la prosa elegante madre a la casa de la humilde familia dispuestas a de May Alcott. En retrospectiva, ahora entiendo darle su cena de Navidad. Después la Tía March, cuanto tomó prestado el personaje homónimo de quién era una anciana con mucho dinero, necesi- Dawson’s Creek de la Josephine de Mujercitas. Las taba una persona ágil que es ofreciera a cuidarla y cuatro hermanas March —Meg, Amy, Jo y Beth— decía a los padre de Jo que tenía anhelos de adop- son tan perfectas que dan rabia.
    [Show full text]
  • Mujercitas Louisa May Alcott
    MUJERCITAS LOUISA MAY ALCOTT CAPITULO 1 EL JUEGO DEL PEREGRINO NAVIDAD no será Navidad sin regalos ‐murmuró Jo, tendida sobre la alfombra. ‐ ¡Es tan triste ser pobre! ‐suspiró Meg mirando su vestido viejo. ‐No me parece justo que algunas muchachas tengan tantas cosas bonitas, y otras nada ‐añadió la pequeña Amy con gesto displicente. ‐Tendremos a papá y a mamá y a nosotras mismas dijo Beth alegremente desde su rincón. Las cuatro caras jóvenes, sobre las cuales se reflejaba la luz del fuego de la chimenea, se iluminaron al oír las animosas palabras; pero volvieron a ensombrecerse cuando Jo dijo tristemente: ‐No tenemos aquí a papá, ni lo tendremos por mucho tiempo. No dijo “tal vez nunca”, pero cada una lo añadió silenciosamente para sí, pensando en el padre, tan lejos, donde se hacía la guerra civil. Nadie habló durante un minuto; después dijo Meg con diferente tono: ‐Saben que la razón por la que mamá propuso que no hubiera regalos esta Navidad fue porque el invierno va a ser duro para todo el mundo, y piensa que no debemos gastar dinero en gustos mientras nuestros hombres sufren tanto en el frente. No podemos ayudar mucho, pero sí hacer pequeños sacrificios y debemos hacerlos alegremente. Pero temo que yo no los haga ‐y Meg sacudió la cabeza al pensar arrepentida en todas las cosas que deseaba. ‐Pero pienso que el poco dinero que gastaríamos no ayudaría mucho. Tenemos un peso cada una, y el ejército no se beneficiaría mucho si le diéramos tan poco dinero. Estoy conforme con no recibir nada ni de mamá ni de ustedes, pero deseo comprar Undine y Sintran para mí.
    [Show full text]
  • 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
    [Show full text]
  • 1 Cuba Exotizada Y La Construcción
    RAZÓN Y PALABRA Primera Revista Electrónica en América Latina Especializada en Comunicación www.razonypalabra.org.mx CUBA EXOTIZADA Y LA CONSTRUCCIÓN CINEMATOGRÁFICA DE LA NACIÓN MEXICANA Maricruz Castro Ricalde 1 Resumen En las próximas líneas proponemos la ratificación del trópico como el lugar de la sensualidad, lo bravío y lo salvaje, ideas que circulaban desde mucho tiempo antes, a través de la literatura de ficción y de viajes, principalmente. Sin embargo, lejos de significar un agente de caos o destrucción, el personaje de María Antonieta Pons, en el cine mexicano de los años cuarenta, confirma la posibilidad de una nación armónica, que acepta formas distintas de ejercer la femineidad. Las trasgresiones en sus filmes, al estar siempre acotadas, revelan las estrategias de un modelo de nación poco flexible que se obstina, no obstante, en mostrar un rostro comprehensivo y heterogéneo. Palabras clave. Cine de rumberas, nación, edad de oro del cine mexicano, representaciones de género En distintos momentos ha sido documentada la influencia de la industria cinematográfica mexicana en los mercados de Latinoamérica, durante la que ha sido denominada su “Edad de Oro”. Entre 1935 y 1958, las películas mexicanas inundaron las salas de aquellos países que no tenían o no habían logrado consolidar su propia industria fílmica. México se convirtió en un centro de irradiación cultural que impuso pautas múltiples: lingüísticas (léxicas, fonéticas, sintácticas, pragmáticas), visuales (puesta en escena), ritmos, estructuras y géneros narrativos, entre muchos otros. Se convirtió, entonces, en un sitio aspiracional para actores culturales de diversos ámbitos. Dentro del ámbito cinematográfico, esto se manifestó en el arribo de intérpretes, directores, guionistas y técnicos de otros lares, cuyo anhelo era insertarse en este próspero campo laboral.
    [Show full text]
  • 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.
    [Show full text]
  • Reporte De Telenovelas De Los 80'S 1. COLORINA : Fue Producida En
    Reporte de Telenovelas de los 80’s 1. COLORINA : Fue producida en 1980 por Valentín Pimstein considerado uno de los padres de la novela rosa en México, protagonizada por la actriz Lucia Méndez y Enrique Álvarez Félix ; como villanos la telenovela tuvo a José Alonso y a María Teresa Rivas . Contó además con las actuaciones de María Rubio, Julissa y Armando Calvo. Causo impacto en la sociedad al ser la primera telenovela con clasificación C y en ser transmitada a las 23:00 hrs. Además de romper record de llamadas por el concurso convocado para saber quien seria e hijo de colorina. Fue rehecha en 1993 en argentina bajo el titulo de Apasionada. En 2001 por televisa, ahora a mano de Juan Osorio y titulada Salome. Y finalmente fue retransmitida en 2 ocasiones por el canal Tlnovelas siendo la última el 9 de julio del 2012. En marzo del 2011 la revista People en España la considero entre las mejores 20 novelas de la historia. 2. CHISPITA: Fue producida en 1982 producida por Valentin Pimstein, protagonizada adultamente por adultamente por Angélica Aragón y Enrique Lizalde con las participaciones protagonicas infantiles de Lucero y Usi Velasco. En 1983 fue ganadora en los premios TVyNovelas por mejor actriz infantil la actriz Lucero. Lucero actualmente tiene 33 años de carrera artística , a realizado 9 telenovelas , cuanta con mas de 30 premios entre cantante y actriz. Fue remasterizada en 1996 por Televisa bajo el nombre de Luz Clarita. 3. EL DERECHO DE NACER: Está basada en la radio novela cubana, pero en 1981 es transmitida por Televisa baja la producción de Ernesto Alonso y protagonizada por Verónica Castro y Sergio Jiménez, con las participaciones estelares de Humberto Zurita y Erika Buenfil.
    [Show full text]
  • Anuario Obitel2020 Capuruguay.Pdf
    ObservatóriO iberO-americanO da FicçãO televisiva Obitel 2020 O melOdrama em tempOs de streaming el melOdrama en tiempOs de streaming OBSERVATÓRIO IBERO-AMERICANO DA FICÇÃO TELEVISIVA OBITEL 2020 O MELODRAMA EM TEMPOS DE STREAMING EL MELODRAMA EN TIEMPOS DE STREAMING Coordenadores-gerais Maria Immacolata Vassallo de Lopes Guillermo Orozco Gómez Coordenação desta edição Gabriela Gómez Rodríguez Coordenadores nacionais Morella Alvarado, Gustavo Aprea, Fernando Aranguren, Catarina Burnay, Borys Bustamante, Giuliana Cassano, Gabriela Gómez, Mónica Kirchheimer, Charo Lacalle, Pedro Lopes, Guillermo Orozco Gómez, Ligia Prezia Lemos, Juan Piñón, Rosario Sánchez, Luisa Torrealba, Guillermo Vásquez, Maria Immacolata Vassallo de Lopes © Globo Comunicação e Participações S.A., 2020 Capa: Letícia Lampert Projeto gráfico e editoração: Niura Fernanda Souza Produção editorial: Felícia Xavier Volkweis Revisão do português: Felícia Xavier Volkweis Revisão do espanhol: Naila Freitas Revisão gráfica: Niura Fernanda Souza Editor: Luis Antônio Paim Gomes Foto de capa: Louie Psihoyos – High-definition televisions in the information era Bibliotecária responsável: Denise Mari de Andrade Souza – CRB 10/960 M528 O melodrama em tempos de streaming / organizado por Maria Immacolata Vassallo de Lopes e Guillermo Orozco Gómez. -- Porto Alegre: Sulina, 2020. 407 p.; 14x21 cm. Edição bilíngue: El melodrama en tiempos de streaming ISBN: 978-65-5759-012-6 1. Televisão – Internet. 2. Comunicação e tecnologia – Tele- visão – Ibero-Americano. 3. Programas de televisão – Distribuição – Inter- net. 4. Televisão – Ibero-América. 4. Meios de comunicação social. 5. Co- municação social. I. Título: El melodrama en tiempos de streaming. II. Lo- pes, Maria Immacolata Vassallo de. III. Gómez, Guillermo Orozco. CDU: 654.19 659.3 CDD: 301.161 791.445 Direitos desta edição adquiridos por Globo Comunicação e Participações S.A.
    [Show full text]
  • Cuadernos De Historia 49 Cuadernos De
    CUADERNOS DE HISTORIA 49 CUADERNOS DE Santiago de Chile December of 2018 SUMMARY HISTORIA 49 Articles ISSN 0716-1832 versión impresa ISSN 0719-1243 versión electrónica The first stakes of John Thomas North’s nitrate kingdom. The origin of the myth .. 7-36 Sergio González Miranda Ways to lose the opportunity. Economies and Latin American independences, State of the art .................................................................................................................... 37-72 Antonio Santamaría García Japan´s Public Diplomacy and the Chilean Press during World War Two ............... 73-97 Pedro Iacobelli D. and Nicolás Camino V. On the origins of anti-peronism: the Democratic Union and the establishment of aguinaldo (1945-46) ............................................................................................. 99-123 Pablo Pizzorno Communist officials in the Government of González Videla, 1946-1947 ................ 125-173 Jorge Rojas Flores Dictatorship and Hegemonic Construction in a Regional Space: The CEMA Case at the ‘Greater Concepción’, 1973-1976 ................................................................... 175-193 Danny Monsálvez Araneda and Millaray Cárcamo Hermosilla Theological reason for the instrumental implementation of neoliberalism in Chile under the military civil dictatorship, 1973-1982 ....................................................... 195-220 Jorge Olguín Olate Documents DICIEMBRE 2018 People and landscapes of the chilean pacific ocean and southern peru, seen by a british corsair. Account
    [Show full text]
  • La Telenovela Histórica En México: Apuntes Para La Construcción De Un Proyecto Con “Beneficio Social”
    LA TELENOVELA HISTÓRICA EN MÉXICO: APUNTES PARA LA CONSTRUCCIÓN DE UN PROYECTO CON “BENEFICIO SOCIAL” The historical soap opera in Mexico: notes on the construction of a project for "social benefit" René León Valdez - [email protected] Resumen El presente artículo parte de una breve explicación sobre la sociedad de masas y los compor- tamientos y actitudes que asumen los individuos ante determinadas formas simbólicas. Se aborda el surgimiento del género de las telenovelas. En México fue creado un modelo melodramático para ser transmitido y consumido por las audiencias. De esta propuesta de modelos narrativos en las telenovelas surge la producción de series que incursionan en la recreación de acontecimientos históricos al desarrollar paralelamente las vidas de los personajes clave dentro de la historia y, en algunos casos, alternando con protagonistas ficcticios que ofrecen a la trama una mayor creatividad narrativa. Se explica en orden cronológico la aparición de estos productos y el lugar primordial que ocuparon en su momento, ya fuera por la temática histórica desarrollada en la trama, por la interpretación de las ficguras más importantes de la historia de México y por las implicaciones ideológicas que estuvieron presentes durante su producción. Palabras Clave: Historia, comunicación de masas, telenovela, ficcción, realidad histórica, beneficcio social. Abstract This article begins with a brief explanation about mass society and the attitudes and behaviors that individuals assume before determined symbolic ficgures. The emergence of the soap opera genre is addressed. A melodramatic model was created in Mexico to be broadcasted and consumed by audiences. From this proposal of narrative models in soap operas rises the production of series that venture on the recreation of historical events by equally developing the lives of key characters of history, and in some cases, alternating with main characters that are ficctional and offer the plot a greater narrative creativity.
    [Show full text]