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Secuencias 43 SECUENCIAS Revista de Historia del Cine 43 44 Fundador ALBERTO ELENA DÍAZ (1958-2014) Director DANIEL SÁNCHEZ SALAS (Universidad Rey Juan Carlos, Madrid) Subdirectora MARÍA LUISA ORTEGA (Universidad Autónoma, Madrid) Jefatura de Redacción PABLO CEPERO (Universidad Autónoma, Madrid) LAURA GÓMEZ VAQUERO (Universidad Camilo José Cela, Madrid) Equipo de Redacción MINERVA CAMPOS (Universidad Autónoma, Madrid) ELENA CORDERO (Universidade de Lisboa) JAVIER H. ESTRADA (Universidad Autónoma, Madrid) CLARA GARAVELLI (University of Leicester) LIDIA MERÁS (Royal Holloway University, Londres) Consejo Editorial JOSÉ CARLOS AVELLAR (www.escrevercinema.com) VALERIA CAMPORESI (Universidad Autónoma, Madrid) ANTONIO COSTA (Universidad IUAV de Venecia) MARVIN D’LUGO (Clark University, Boston) ROMÁN GUBERN (Universidad Autónoma, Barcelona) ISAAC LEÓN FRÍAS (Universidad de Lima) ANA LAURA LUSNICH (Universidad de Buenos Aires) MANUEL PALACIO (Universidad Carlos III, Madrid) JULIO PÉREZ PERUCHA (Asociación Española de Historiadores del Cine, Madrid) ÁNGEL QUINTANA (Universidad de Gerona) B. RUBY RICH (Universidad de California Santa Cruz) VICENTE SÁNCHEZ-BIOSCA (Universidad de Valencia) JEAN CLAUDE SEGUIN (Universidad Lumière, Lyon II) PIERRE SORLIN (Universidad de París VIII) CASIMIRO TORREIRO (Universidad Carlos III, Madrid) ARUNA VASUDEV (Network for the Promotion of Asian Cinema, Nueva Delhi) EDUARDO DE LA VEGA ALFARO (Universidad de Guadalajara, México) Cualquier forma de reproducción, distribución, comunicación pública o transforma- ción de esta obra sólo puede ser realizada con la autorización de sus titulares, salvo excepción prevista por la ley. Diríjase a CEDRO (Centro Español de Derechos Reprográ- ficos, www.cedro.org) si necesita fotocopiar o escanear algún fragmento de esta obra. © ASOCIACIÓN CULTURAL «ANIMATÓGRAFO», 2016 © UNIVERSIDAD AUTÓNOMA DE MADRID, 2016 ISSN: 1134-6795 ISSN electrónico: 2529-9913 Depósito legal: M-29.578-1994 Diseño Maquetación Soporte técnico digital SABÁTICA MIGUEL Á. TEJEDOR MARTA SOBRÓN Administración UNIVERSIDAD AUTÓNOMA DE MADRID Servicio de Publicaciones Ciudad Universitaria de Cantoblanco 28049 Madrid [email protected] Imagen de cubierta: La imagen perdida (L´image manquante, Rithy Panh, 2013). Presentación. Alberto Elena y las miradas a los cines periféricos 7 Minerva Campos Artículos Bollywood en Quismondo: versiones del cine indio para la exportación, 1953-1962 23 Alberto Elena Más allá del camino en zigzag. ¿Dónde ésta la casa de mi amigo? (Abbas Kiarostami, 1987), treinta años después 31 Farshad Zahedi El eslabón perdido de las imágenes en el genocidio camboyano: en torno a La imagen perdida (R. Panh, 2013) 51 Vicente Sánchez-Biosca Argel, Buenos Aires, Montreal: el Comité de Cine del Tercer Mundo (1973 / 1974) 73 Mariano Mestman Cine militante: del internacionalismo a la política sensible neoliberal 95 Irmgard Emmelhainz La estelarización de Cantinflas y su presencia en el imaginario ranchero 113 Marina Díaz López El espacio cultural transnacional en la post-Transición. El caso de las series televisivas Amores difíciles y La Reina del Sur 137 Manuel Palacio y Rubén Romero Santos Colonia América. Notas para un cine postcolonial (en) español 155 Juan Guardiola Libros Transnational Cinema in Europe Manuel Palacio y Jörg Turschmann (eds.) 179 Helio San Miguel Film Festival Yearbook 6: Film Festivals and the Middle East Dina Iordanova y Stefani Van de Peer (eds.) 182 Aida Vallejo Ciudades de cine Francisco García Gómez y Gonzalo M. Pavés (coords.) 185 Pedro Gutiérrez Recacha Le nouveau du cinéma argentin Pietsie Feenstra y María Luisa Ortega (dirs.) 188 Nancy Berthier (Re)viewing Creative, Critical and Commercial Practices in Contemporary Spanish Cinema Duncan Wheeler y Fernando Canet (eds.) 190 Fernando González García Le cinéma espagnol. Histoire et culture Pietsie Feenstra y Vicente Sánchez-Biosca (dirs.) 194 Marta Álvarez Global Genres, Local Films. The Transnational Dimension of Spanish Cinema Elena Oliete-Aldea, Beatriz Oria y Juan A. Tarancón (eds.) 197 Ana Mejón Bibliografía de Alberto Elena Publicaciones sobre historia de la ciencia y cine de Alberto Elena 201 Minerva Campos y Ana Albertos Presentation. Alberto Elena and the Views on Peripheral Cinemas 7 Minerva Campos Articles Bollywood in Quismondo: Versions of Indian Cinema for Export, 1953-1962 23 Alberto Elena Beyond the Zigzag Path. Where is the Friend’s Home? (A. Kiarostami, 1987), Thirty Years Later 31 Farshad Zahedi The Missing Link in the Images of the Cambodia Genocide: On The Missing Picture (R. Panh, 2013) 51 Vicente Sánchez-Biosca Algiers, Buenos Aires, Montreal: The Third World Cinema Committee (1973 / 1974) 73 Mariano Mestman Militant Cinema: From Internationalism to Neoliberal Sensible Politics 95 Irmgard Emmelhainz How Cantinflas Became a Star and His Presence in the Ranch Comedy Imaginary 113 Marina Díaz López The Transnational Cultural Space in the Post-Transition. The Case of the TV series Amores difíciles and La Reina del Sur 137 Manuel Palacio and Rubén Romero Santos Colonia América. Sketches for a Postcolonial Cinema (in) Spanish 155 Juan Guardiola Books Transnational Cinema in Europe Manuel Palacio and Jörg Turschmann (eds.) 179 Helio San Miguel Film Festival Yearbook 6: Film Festivals and the Middle East Dina Iordanova and Stefani Van de Peer (eds.) 182 Aida Vallejo Ciudades de cine Francisco García Gómez and Gonzalo M. Pavés (coords.) 185 Pedro Gutiérrez Recacha Le nouveau du cinéma argentin Pietsie Feenstra and María Luisa Ortega (dirs.) 188 Nancy Berthier (Re)viewing Creative, Critical and Commercial Practices in Contemporary Spanish Cinema Duncan Wheeler and Fernando Canet (eds.) 190 Fernando González García Le cinéma espagnol. Histoire et culture Pietsie Feenstra and Vicente Sánchez-Biosca (dirs.) 194 Marta Álvarez Global Genres, Local Films. The Transnational Dimension of Spanish Cinema Elena Oliete-Aldea, Beatriz Oria and Juan A. Tarancón (eds.) 197 Ana Mejón Alberto Elena’s Bibliography Alberto Elena’s Publications on History of Science and Cinema 201 Minerva Campos and Ana Albertos PRESENTACIÓN. ALBERTO ELENA Y LAS MIRADAS A LOS CINES PERIFÉRICOS a MINERVA CAMPOS Universidad Autónoma de Madrid DOI: http://dx.doi.org/10.15366/secuencias2016.43-44.001 «Llegará un día en que el cine habrá cambiado el mundo más que la invención de la pólvora, la electricidad o el descubrimiento de nuevos continentes. El cine permitirá a la gente repartida por los más remotos confines de la Tierra conocerse y apreciarse mejor. El cine reconciliará las diferencias de opinión y contribuirá de forma decisiva a la realiza- ción de los ideales de la Humanidad. Es fundamental que concedamos al cine la importancia que merece». Mustafa Kemal Atatürk (1937)1 En 1994 apareció el primer número de Secuencias. Revista de historia del cine. El equipo que puso en marcha este proyecto estaba dirigido por Alberto Elena quien, tras una década como director de la publicación, entre 2005 y 2013, siguió participando en la revista como miembro del Comité Asesor de Direc- ción. Además de su vinculación formal, durante veinte años escribió notas, reseñas y artículos de investigación para Secuencias que dan buena cuenta de su infatigable trabajo en este contexto. En estas más de dos décadas ha habido cambios en la plantilla que con- forma la redacción y en las tareas desempeñadas por cada uno de nosotros. El vínculo que Alberto Elena mantuvo con Secuencias es también el que compartimos quienes integramos ahora el equipo: entre nosotros, pero ade- más con muchos de quienes antes ocuparon nuestros puestos. Compartimos también el haber sido alumnos y compañeros suyos y, ante todo, el conside- rar a Alberto un amigo y un maestro con el que de un modo u otro estamos en deuda. La laudatio podría y merecería ser más amplia, pero los motivos principales que nos han traído a elaborar este número creemos que quedan ya suficientemente justificados. Teníamos claro que queríamos realizar un número de Secuencias home- naje a Alberto Elena. A partir de este punto, debíamos idear cómo llevar a cabo la tarea. El primer paso lo dimos rápido: queríamos un homenaje en el que se mostraran las líneas de trabajo de Alberto así como las continuidades, [1] Esta cita precede al artículo actualizaciones, revisiones y derivas de las que estas habían sido objeto en «Panorama desde el Puente (de Gálata), o las encrucijadas del cine [a] Minerva Campos es investigadora posdoctoral en la Universidad Autónoma de Madrid y miembro del turco» (Archivos de la Filmoteca, equipo de redacción de Secuencias. Revista de historia del cine. Es Doctora en Comunicación Audiovisual por nº. 44, junio de 2003), pp. 99-114 la Universidad Carlos III de Madrid y ha desarrollado estancias de investigación en la Universidad de Buenos (Reedición: La invención del subde- Aires y la Universidad de Ámsterdam (UvA). Sus trabajos sobre festivales y cine contemporáneo de América sarrollo: cine, tecnología y moder- Latina han sido publicados en CinémAction, Secuencias, Archivos de la Filmoteca, Cinémas d'Amérique nidad [Valencia, Generalitat Valen- Latine y Nuevas perspectivas sobre la transnacionalidad en el cine hispánico (Leiden y Boston, Brill / ciana, 2007], pp. 139-150). Rodopi, 2016). MINERVA CAMPOS Presentación. Alberto Elena y las miradas a los cines periféricos 7 Hyderabad, India. manos de otros especialistas. Esta idea © Alberto Elena nos permitía además ampliar el con- texto en el que se integra la produc- ción científica de Alberto y mostrar la vigencia de sus objetos y perspectivas en
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