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Half Title>NEW TRANSNATIONALISMS in CONTEMPORARY LATIN AMERICAN
<half title>NEW TRANSNATIONALISMS IN CONTEMPORARY LATIN AMERICAN CINEMAS</half title> i Traditions in World Cinema General Editors Linda Badley (Middle Tennessee State University) R. Barton Palmer (Clemson University) Founding Editor Steven Jay Schneider (New York University) Titles in the series include: Traditions in World Cinema Linda Badley, R. Barton Palmer, and Steven Jay Schneider (eds) Japanese Horror Cinema Jay McRoy (ed.) New Punk Cinema Nicholas Rombes (ed.) African Filmmaking Roy Armes Palestinian Cinema Nurith Gertz and George Khleifi Czech and Slovak Cinema Peter Hames The New Neapolitan Cinema Alex Marlow-Mann American Smart Cinema Claire Perkins The International Film Musical Corey Creekmur and Linda Mokdad (eds) Italian Neorealist Cinema Torunn Haaland Magic Realist Cinema in East Central Europe Aga Skrodzka Italian Post-Neorealist Cinema Luca Barattoni Spanish Horror Film Antonio Lázaro-Reboll Post-beur Cinema ii Will Higbee New Taiwanese Cinema in Focus Flannery Wilson International Noir Homer B. Pettey and R. Barton Palmer (eds) Films on Ice Scott MacKenzie and Anna Westerståhl Stenport (eds) Nordic Genre Film Tommy Gustafsson and Pietari Kääpä (eds) Contemporary Japanese Cinema Since Hana-Bi Adam Bingham Chinese Martial Arts Cinema (2nd edition) Stephen Teo Slow Cinema Tiago de Luca and Nuno Barradas Jorge Expressionism in Cinema Olaf Brill and Gary D. Rhodes (eds) French Language Road Cinema: Borders,Diasporas, Migration and ‘NewEurope’ Michael Gott Transnational Film Remakes Iain Robert Smith and Constantine Verevis Coming-of-age Cinema in New Zealand Alistair Fox New Transnationalisms in Contemporary Latin American Cinemas Dolores Tierney www.euppublishing.com/series/tiwc iii <title page>NEW TRANSNATIONALISMS IN CONTEMPORARY LATIN AMERICAN CINEMAS Dolores Tierney <EUP title page logo> </title page> iv <imprint page> Edinburgh University Press is one of the leading university presses in the UK. -
Spanish Language Films in the Sfcc Library
SPANISH LANGUAGE FILMS IN THE SFCC LIBRARY To help you select a movie that you will enjoy, it is recommended that you look at the description of films in the following pages. You may scroll down or press CTRL + click on any of the titles below to take you directly to the description of the movie. For more information (including some trailers), click through the link to the Internet Movie Database (www.imdb.com). All films are in general circulation and in DVD format unless otherwise noted. PLEASE NOTE: Many of these films contain nudity, sex, violence, or vulgarity. Just because a film has not been rated by the MMPA, does not mean it does not contain these elements. If you are looking for a film without those elements, consider viewing one of the films on the list on the last page of the document. A Better Life (2011) Age of Beauty / Belle epoque (1992) DVD/VHS All About My Mother / Todo sobre mi madre (1999) Alone / Solas (1999) And Your Mama Too / Y tu mamá también (2001) Aura, The / El aura (2005) Bad Education / La mala educación (2004) Before Night Falls / Antes que anochezca (2000) DVD/VHS Biutiful (2010) Bolivar I Am / Bolívar soy yo (2002) Broken Embraces / Abrazos rotos (2009) Broken Silence / Silencio roto (2001) Burnt Money / Plata quemada (2000) Butterfly / La lengua de las mariposas (1999) Camila (1984) VHS media office Captain Pantoja and the Special Services / Pantaleón y las visitadoras (2000) Carancho (2010) Cautiva (2003) Cell 211 / Celda 211 (2011) Chinese Take-Out(2011) Chronicles / Crónicas (2004) City of No Limits -
Uruguay Film Commission & Promotion Office
La presente recopilación busca reflejar la trayectoria de la ficción uruguaya de los últimos veinticinco años, con el objetivo de ampliar las vías de distribución del cine nacional. Hablar de trayectoria es una forma de mostrar que hay una historia, un camino recorrido que revela, en sus huellas, el significativo reconocimiento internacional que concita nuestro cine. El catálogo reúne mediometrajes y largometrajes realizados desde 1985 hasta marzo de 2010. Para la selección se ha considerado mediometraje a la obra de 30’ y largometraje a la que excede los 60 minutos. Como definición de película nacional se tomó la que establece el artículo 10 de la ley 18.284: aquella que se realice total o parcialmente en el territorio de la República Oriental del Uruguay y en la que la mayoría de los técnicos y artistas intervinientes sean residentes en el país o ciudadanos uruguayos. Para las coproducciones se siguió la definición que establece la ley en el mismo artículo: obras cinematográficas y audiovisuales nacionales realizadas total o parcialmente en el territorio de la República en régimen de coproducción con otros países, que empleen personal técnico y artístico que reúna las características antedichas, en un 20% como mínimo. En el caso de los cortometrajes, el relevamiento no fue exhaustivo; se presenta aquí una selección más restringida integrada por aquellas obras que fueron ampliadas a 35 mm. y/o premiadas en festivales internacionales. The present compilation aims to reflect the path of the Uruguayan fiction of the last twenty five years with the objective to broaden the ways of distribution of the national cinema. -
The Last Heist Revisited: Reimagining Hollywood Genre in Contemporary
The last heist revisited: reimagining Downloaded from Hollywood genre in contemporary Argentine crime film http://screen.oxfordjournals.org/ RIELLE NAVITSKI In the context of a resurgence in film production in Argentina over the past decade, the internationally acclaimed art house films by nuevo cine at University of Georgia on September 8, 2014 argentino (New Argentine Cinema) directors such as Lucrecia Martel and Pablo Trapero have been overshadowed at the domestic box office by releases which reenvision Hollywood-style crime genre narratives in a local context. Many of the local productions that have had the greatest popular success – Fabián Bielinsky’s intricately plotted Nueve reinas/ Nine Queens (2000), for example, and Marcelo Piñeyro’s graphically violent Plata quemada/Burnt Money (2000) – capitalize on the dizzying plot twists, dynamic action sequences and highly colloquial dialogues of 1 1 See Foster Hirsch, Detours and Lost the heist film and neo-noir genres, drawing on the styles cultivated by Highways: a Map of Neo-Noir directors such as Bryan Singer, Christopher Nolan and Quentin Tarantino (New York, NY: Limelight, 1999), and Ronald Schwartz, Neo-Noir: in Hollywood during the 1990s and early 2000s. the New Film Noir Style from This diverse group of recent Argentine crime films, which I will Psycho to Collateral (Lanham, MD: collectively refer to as the ‘new policiales’,2 has given a new twist to Scarecrow, 2005). ‘ ’ ‘ ’ 2 The term implies a police conventional narrative tropes such as the perfect crime , the last job , and procedural, but is often used to ‘the big score’. Bielinsky’s Nine Queens and his 2005 follow-up El aura/ refer to a broad range of mystery The Aura focus respectively on an intricate scam and an elaborate casino films and thrillers. -
Board Committee Documents Academic Policy, Programs And
Proposal for a Major in Spanish Leading to the Bachelor of Arts Degree Department of Modern Languages and Literatures John Jay College of Criminal Justice City University of New York Anticipated Implementation of Program: Fall 2015 Dates of College Governance Approval: College Council: December 11, 2014 Undergraduate Curriculum and Academic Standards Committee: November 14, 2014 Dr. Jane P. Bowers Dr. Jane P. Bowers, Provost and Senior Vice President for Academic Affairs Phone: 212-237-8801; FAX 212-237-8623; E-Mail: [email protected] 2 Table of Contents A. Executive Summary ………………………………………………………………………………………………………. 3 B. Abstract of Proposal …………………………………………………………………………………………………….. 5 C. Purpose and Goals ……………………………………………………………………………………………………….. 5 D. Need and Justification …………….……………………………………………………………………………………. 9 E. Student Interest and Enrollment ………………………………………………………………………………….. 10 F. Admissions Requirements ……………………………………………………………………………………………. 11 G. Curriculum …………………………………………….……………………………………………………………………… 12 H. Faculty ………………………………………………….………………………………………………………………………. 17 I. Cost Assessment …………………………………..………………………………………………………………………. 18 J. Program Assessment ……………………………..……………………………………………………………………… 19 Appendices A. Existing Spanish Courses ………...………………………………………………………………………… 21 B. New Course Descriptions………………..………………………………………………………………….. 26 C. New Course Syllabi …………………………………………………………………………………………… 28 D. NYSED Forms …………………………………………………………………………………………………….. 94 NYSED Cover Page ……………………………………………………………………………………….…. 95 Program of Study -
Sin Lugar En El Mundo. Narrativa, Puesta En Escena Y Discurso En Las Películas Hispanoargentinas De Marcelo Piñeyro
RUBIO ALCOVER, Agustín: Sin lugar en el mundo. Narrativa, puesta en escena y discurso en las películas hispanoargentinas de Marcelo Piñeyro. Recibido: 01/12/2013 – Aceptado: 07/01/2014 REVISTA CIENTÍFICA DE CINE Y FOTOGRAFÍA ISSN 2172-0150 Nº 8 (2014) SIN LUGAR EN EL MUNDO. NARRATIVA, PUESTA EN ESCENA Y DISCURSO EN LAS PELÍCULAS HISPANOARGENTINAS DE MARCELO PIÑEYRO WITHOUT A PLACE IN THE WORLD. NARRATIVE, STAGING AND DISCOURSE IN FOUR HISPANIC-ARGENTINIAN FILMS BY MARCELO PIÑEYRO Agustín Rubio Alcover Universitat Jaume I de Castellón (España) [email protected] Resumen: Abstract: El presente artículo aborda las cuatro This article studies the four Hispanic- películas hispanoargentinas dirigidas por Argentinian movies directed by Marcelo Marcelo Piñeyro que se han estrenado hasta Piñeyro that have been screened up to the la fecha, a saber: Plata quemada (2000), date, namely: Burnt Money (2000), Kamchatka (2002), El método (2005) y Las Kamchatka (2002), The Grönholm Method viudas de los jueves (2009). Y lo hace (2005) and The Widows of Thursdays analizándolas desde la perspectiva concreta (2009). And it does it analyzing them from de cómo se conjuga la representación de la the concrete perspective of how they crisis del mundo contemporáneo en el conjugate the representation of the crisis of marco de una poética propia. El artículo the contemporary world in the frame of an atiende a aspectos productivos y de authorial poetic. The text attends to recepción de los films, los compara con las productive and receptive aspects regarding obras literarias -
Mundo Villa: Informal Settlements and Marginalization in Argentine Film
Mundo Villa: Informal Settlements and Marginalization in Argentine Film Alan Smyth Thesis Supervisor: Dr Catherine Leen Head of School: Professor Arnd Witte Submitted to the School of Modern Languages, Literatures and Cultures, Maynooth University in partial fulfilment of the requirements for a PhD in Spanish and Latin American Studies July 2018 Contents Abstract 5 Acknowledgements 6 Thesis Introduction i. Argentina’s Villas 8 ii. Overview: Critical Framework, Literature Review, Methodology, Objectives and Outline of Chapters 9 Chapter One: Populating, Governing and Eradicating Villas 1.1 Introduction 22 1.2 Origins of the Villas 22 1.3 To Dictate is to Eradicate 25 1.4 The City and the Undeserving 27 1.5 Recovering Democracy and Repopulating Villas 31 Chapter Two: Villas and the Evolution of Argentine Cinema 2.1 Introduction 36 2.2 Accessing and Stereotyping Villas 37 2.3 From the arrabal to the Villa: Poverty and Precarious Housing in Early Argentine Films (1922 – 1950) 41 2.4 Retrospective Representations?: Poverty under ‘Paternal’ Control (1950 – 1954) 48 2.5 Back to the Present: From Anti-Peronism to Political Disenchantment (1958 – 1962) 54 2.6 The Wrong Track: Examining Development and Foreshadowing Authoritarianism in Documentaries and Docudramas of the New Argentine Cinema (1960 – 1965) 64 2.7 Evolving Images of Poverty and Informal Settlements in Third Cinema: La hora de los hornos (dirs. Fernando Solanas and Octavio Getino, 1968) 74 2.8 Disappearing Poverty (1974 – 1980) 79 2.9 Conclusion 83 2 Chapter Three: Capitalism, Crisis -
Descargar Archivo
La presente recopilación busca reflejar la trayectoria de la ficción uruguaya desde 1985, con el objetivo de ampliar las vías de distribución del cine nacio- nal. Hablar de trayectoria es una forma de mostrar que hay una historia, un camino recorrido que revela, en sus huellas, el significativo reconocimiento internacional que concita nuestro cine. El catálogo reúne cortometrajes, me- diometrajes y largometrajes realizados desde 1985 hasta 2012. Para la selec- ción se ha considerado mediometraje a la obra de 30’ y largometraje a la que excede los 60 minutos. En el caso de los cortometrajes, el relevamiento no fue exhaustivo; se presenta aquí una selección más restringida integrada por aquellas obras que fueron ampliadas a 35 mm. y/o premiadas en festivales nacionales e internacionales. Como definición de película nacional se tomó la que establece el artículo 10 de la ley 18.284: aquella que se realice total o parcialmente en el territorio de la República Oriental del Uruguay y en la que la mayoría de los técnicos y artistas intervinientes sean residentes en el país o ciudadanos uruguayos. Para las coproducciones se siguió la definición que establece la ley en el mismo artículo: obras cinematográficas y audiovisuales nacionales realizadas total o parcialmente en el territorio de la República en régimen de coproducción con otros países, que empleen personal técnico y artístico que reúna las características antedichas, en un 20% como mínimo. Esperamos que este catálogo cumpla con el objetivo de acercar la produc- ción de ficción nacional, contribuyendo con la proyección internacional del audiovisual uruguayo. The present compilation aims to reflect the path of the Uruguayan fiction since 1985 with the objective to broaden the ways of distribution of the national cinema. -
Latin America and Caribbean: Films and Videorecordings
University of Pittsburgh Latin America and Caribbean: Films and Videorecordings Updated July, 2006 This list of the University of Pittsburgh Collection of Latin America films and videorecordings contains materials housed in the following locations: 1) Hillman Library (HILL) - Center for Instructional Development & Distance Education, G-20 2) Greensburg Campus – (GREEN) - Millstein Library 3) Bradford Campus (BRAD) - Hanley Library 4) Johnstown Campus Library (JOHN) - Owen Library 5) Titusville Campus (TITUS) - Haskell Memorial Library 6) MUSIC LIBRARY - Music Building at the corner of Fifth Avenue and Tennyson Ave.Center for 7) Latin American Studies (CLAS) - PH-4E04 8) Law Library (LAW) Compiled by Eduardo Lozano & Martha E. Mantilla With the assistant of Michael Eitner Grace Jaramillo Eliane Jelliffe Bonnie Linville Harry Mavrinac Barbara Rainey Susana Rosano Minerva Sánchez Key to materials: V- VHS (Video Home System) D – Videodisc DVD - (Digital Video Disc) VCD Video CD F – Film VL (¾ inch u-matic tape) PAL Phase Alternating Line CLV – (Constant Linear Velocity) 2 Content: Title, description and Call Number ..…………………………………… Page 3 Geographical Index…………………………………………………………… Page 244 Index by Directors……………………………………………………………. Page 277 Additional Index………………..………………………………………….. Page 304 Additional index includes: Literary authors, anthropologists, educators, interviewers, political and historical figures Title and description Call Number 6th sun See: The sixth sun: Mayan uprising in Chiapas 9 de abril 1948 (Director: María Valencia Gaitán) GREEN (VHS) (April 9, 1948) F2278.G29 N68 (60 min.) : sd., col. ; 1/2 in., 2001 2001 Documentary on the assassination of Jorge Eliécer Gaitán and the bloody aftermath. Spanish with English subtitles. 11 de Septiembre, 1973: el ultimo combate de Salvador Allende HILL (Director: Patricio Henriquez) V-6511 (Ultimo combate de Salvador Allende) (PAL) (La Ultima batalla de Salvador Allende) (Allende: Chile, 1970-1973, cronica) (57 min.) : sd., col. -
1977 Book Q5 FINAL
BUENOS AIRES 1977 (CRONICA DE UNA FUGA) WRITTEN & DIRECTED BY ISRAEL ADRIAN´ CAETANO CAST CREW Rodrigo de la Serna - CLAUDIO Directed by Israel Adrián Caetano Nazareno Casero - GUILLERMO Written by Israel Adrián Caetano, Lautaro Delgado - GALLEGO Esteban Student & Julián Loyola Matías Marmorato - EL VASCO and Pablo Echarri - HUGUITO Adapted from Claudio Tamburrini´s book "Pase Libre - La fuga de la Mansión Seré" With the collaboration of Guillermo Fernández DP: Julián Apezteguia Music: Ivan Wyzsogrod Production Designers: Juan Mario Roust & Jorge Ferrari Production Manager: Paula Zyngierman Sound: Fernando Soldevila Assistant Director: Ana Droeven Editor: Alberto Ponce Wardrobe: Julio Suárez Make-up: Marisa Amenta Special Effects: FX Stunt Team Associate Producer: Adrián Kochen Produced by Oscar Kramer & Hugo Sigman (K & S Films S.A. Argentina) WWW.BUENOSAIRES1977.COM SYNOPSIS A true story of terror and survival from film-maker Israel Adrián Caetano. Buenos Aires, 1977. A ‘task force’ working for the fascist Argentine military govermment kidnaps Claudio Tamburrini, goalkeeper of a B-league soccer team, and takes him to a clandestine detention centre known as Sere Mansion: a forbidding old building in the suburban neighbourhood of Moron. Claudio enters a living hell of interrogations, beatings, humiliations & betrayals. A nightmare world of arbitrary lunatic rules and relentless violence, mental and physical. Alongside other young detainees, he battles to survive while awaiting his fate to be decided. After four months of imprisonment, with execution looking certain, Claudio and three other prisoners make their desperate move. Forcing open a window in the middle of a thunderstorm, completely naked, they jump into the void. Their flight into the future begins.