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WorldMags.net Backstage Pass / Pepe Aguilar, MTV Unplugged KEEPING A FAMILY TRADITION -----Aguilar welcomes his children to the spotlight, as his parents did for him re\ When Pepe Aguilar was 5 years old, he’d go cheerleader in the last eight, nine years of his life, to the recording studio with his mom, singer- when I already had like 15 albums under actress Flor Silvestre, or play in the film editing my belt. There was an understanding and a room with his dad, actor-producer and ranchera learning process and a mutual respect we had icon Antonio Aguilar. for each other as colleagues that I greatly miss.” “They were famous and they were singers,” His 84-year-old mother, who lives in says Aguilar. “It was normal [for me].” Zacatecas, gives stern feedback. “She’ll scold 1 Today, Aguilar continues the tradition with the me, as if I were a little kid, because she can’t k youngest of his four children, Leonardo, 15, and understand my diction,” says Aguilar with i Angela, 10. He often shares the stage with them, a laugh. “Or she’ll cry because she gets so . including on MTV Unplugged. emotional when she sees me singing.” It’s the newest chapter in “the Aguilar dynasty,” Conscious of high expectations, Aguilar says and it has stirred up memories for the reigning he has never forced his kids into showbiz. But Aguilar was joined patriarch, who got both unwavering support and Leonardo, he reports, “is devoted to 4441 onstage recently by daughter pragmatic reviews from his parents.“I’m sure banda music. And my daughter, she’ll listen to Angela (left) and my own father was always very proud, even if he Katy Perry and Rocio Durcal. And she’ll listen to son Leonardo. didn’t always say so,” says Aguilar. “He became a her grandmother.” —L.C. i kJ. CHILDREN: JESUS AGUILAR EQUINOCCIO RECORDS PEPE AGUILAR FELICIDADES POR UN AP -10 MAS DE EXITO Y RECONOCIMIENTOS /7 EN TU CARRERA. .- Nowp tek74 : 4 g: r..).! --a cc ort Eczymoccio WorldMags.net.

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Dur 26/11/2020
E JUEVES 26 DE NOVIEMBRE DE 2020 [email protected] LEGADO EN EL CINE Y LA MÚSICA Una de las figuras más reconocidas en la industria del espectáculo falleció a los 90 años. EL SIGLO DE DURANGO cubren’ el productor cinemato- te década actúa frente a las cá- Durango gráfico Gregorio Walerstein y maras conViruta y Capulina CARRERA Emilio Azcárraga en una de en ‘Dos Locos en Escena’ (1960) 90 películas y poco más La actriz y cantante mexicana sus actuaciones en el centro y dos años más tarde se presen- de 200 discos, son parte Flor Silvestre, madre del can- nocturno ‘El Patio’ y la invitan ta en la película (nominada al d ela trayectoria artística tautor mexicano Pepe Aguilar a que trabaje en el cine contra- Óscar) que la proyecta a un ni- de la viuda de Antonio y viuda de Antonio Aguilar, fa- tándola para cinco estelares, vel mucho más internacional, Aguilar. lleció este miércoles 25 de no- en un programa en la XEW y ‘Ánimas Trujano’, donde com- viembre a los 90 años de edad, para grabar su primer disco. parte roles estelares con Toshi- por causas naturales en su ca- En la primera de sus pelí- ro Mifune y Columba Domín- sa en Zacatecas. culas, ‘Primero Soy Mexicano’, guez, junto a su esposo Anto- ¿SABÍAS “La familia Aguilar agrade- comparte créditos con Joaquín nio Aguilar, hizo dramas y co- QUE...? ce las muestras de cariño que Pardabé, Luis Aguilar y El medias como ‘Caballo Prieto Su primer película a color siempre tuvieron, les pedi- Charro Avitia, tres ‘rivales’ Azabache’ (1968), ‘Lauro Puña- fue ‘La Doncella de Piedra’, mos respeto y comprensión que se pelean entre sí por el les’ y ‘El Ojo de Vidrio’ (1969).
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Download the Monthly Film & Event Calendar
THU SAT WED 1:30 Film 1 10 21 3:10 to Yuma. T2 Events & Programs Film & Event Calendar 1:30 Film 10:20 Family Film FRI Gallery Sessions The Armory Party 2018 Beloved Enemy. T2 Tours for Fours. Irresistible Forces, Daily, 11:30 a.m. & 1:30 p.m. Wed, Mar 7, 9:00 p.m.–12:30 a.m. Education & Immovable 30 5:30 Film Museum galleries VIP Access at 8:00 p.m. Research Building Objects: The Films Film Janitzio. T2 of Amir Naderi. New Directors/ Join us for conversations and Celebrate the opening of The 10:20 Family 7:00 Film See moma.org/film New Films 2018. activities that offer insightful and Armory Show and Armory Arts A Closer Look for El Mar La Mar. T1 4:30 Film 1:30 Film 6:05 Event for details. See newdirectors.org unusual ways to engage with art. Week with The Armory Party SUN WED Kids. Education & FRI SAT MON Pueblerina. T2 Music by Luciano VW Sunday Sessions: for details. at MoMA—a benefit event with 7:30 Film Research Building 1:30 Film Limited to 25 participants 4 7 16 Berio and Bruno Hair Wars. MoMA PS1 24 26 live music and DJs, featuring María Calendaria. T2 7:30 Film Kings Go Forth. T2 10:20 Family 7:30 Event 2:00 Film Film Maderna. T1 Film Film platinum-selling artist BØRNS. Flor silvestre. T1 6:30 Film Art Lab: Nature Tours for Fours. Quiet Mornings. Victims of Sin. T2 Irresistible Forces, 4:30 Film Irresistible Forces, Irresistible Forces, 6:30 Film Music by Pink Floyd, Daily.
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Recurso De Apelación Expediente: Sg-Rap-3/2015
RECURSO DE APELACIÓN EXPEDIENTE: SG-RAP-3/2015. RECURRENTE: FLOR SILVESTRE PEREA RUIZ AUTORIDAD RESPONSABLE: JUNTA LOCAL EJECUTIVA DEL INSTITUTO NACIONAL ELECTORAL EN SINALOA. MAGISTRADA PONENTE: MÓNICA ARALÍ SOTO FREGOSO SECRETARIO: JUAN CARLOS MEDINA ALVARADO. Guadalajara, Jalisco, a diecisiete de febrero de dos mil quince. VISTOS, para resolver, los autos del recurso de apelación SG-RAP-3/2015, interpuesto por Flor Silvestre Perea Ruiz por su propio derecho, a fin de impugnar la resolución identificada con la clave R01/INE/SIN/JL/23-01-15 de veintitrés de enero de dos mil quince, relativa a los expedientes INE/RSL/JLE/SIN/001/2015 y su acumulado INE/RSL/JLE/SIN/002/2015, emitida por la Junta Local Ejecutiva del Instituto Nacional Electoral en Sinaloa en la que, entre otras cuestiones, se confirmó el acto de la autoridad responsable emanado del oficio INE/VE/00036/2015 y, SUP-RAP-3/2015 R E S U L T A N D O I. ANTECEDENTES. De lo expuesto en el escrito recursal y de las constancias que obran en el expediente, se desprende lo siguiente: 1.- Convocatoria. Mediante acuerdo identificado con la clave INE/CG101//2014, del 14 de julio de 2014, el Consejo General del INE, aprobó la “Estrategia de Capacitación y Asistencia Electoral para el Proceso Electoral 2014-2015”. Derivado de lo anterior, se publicó la convocatoria a los ciudadanos que desearan participar como supervisores electorales y capacitadores-asistentes electorales para el proceso electoral 2014-2015. 2.- Solicitud y plática de inducción. Refiere la actora que el veintiocho de noviembre de diciembre de dos mil catorce, atendiendo a la referida convocatoria, compareció a la 05 Junta Distrital Ejecutiva del Instituto Nacional Electoral en Sinaloa, a efecto de presentar la documentación requerida para aspirar al puesto de Supervisor Electoral o Capacitador Asistente Electoral.
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Cinematic Image and National Identity in Fuentes9 Orquídeas a La Luz De La Luna
SPRING 1984 3 Cinematic Image and National Identity in Fuentes9 Orquídeas a la luz de la luna Lanin A. Gyurko Orquídeas a la luz de la luna, the third and most recent drama by the Mexican author Carlos Fuentes, provides a fascinating evocation of two of Mexico's greatest cinematic actresses, Dolores Del Rio and María Félix. This complex drama constitutes a play-within-a-play. It presents two aging chicanas, Dolores and Maria, living in seclusion in an apartment in Venice, California, who identify so strongly with the screen personalities of Dolores Del Rio and Maria Félix that they—paralleling the self-deluded Don Quijote, who, intoxicated by his readings of the novelas de caballerías, sallies forth as a caballero andante— believe, in their self-delusions, that they actually have become these two cinematic stars. Thus they seek desperately to convince one another, the very audience watching Orquídeas a la luz de la luna, and the mysterious and sinister Fan who one day arrives at their apartment, that they are these two legendary actresses. Having failed at their cinematic careers in their native land, Mexico, the two central characters of Fuentes' drama emigrate to the United States, where they attempt to pursue the glamorous illusion of a Hollywood film career. Denied entrance to their El Dorado, they are forced instead to dwell in a limbo realm, a shoddy apartment that is more like a penitentiary cell, symbolizing how much they remain entrapped in their fantasies. Here the two chicanas engage in a bizarre cult of their cinematic idols, even constructing altars to them, thus from the very start transforming María Félix and Dolores Del Rio into household gods.
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La Revolución Mexicana En El Cine Mexicano Del Siglo De Oro Wednesdays at 5:00 Pm
Spring 2010: Noche de Cine: La Revolución Mexicana en el cine mexicano del Siglo de Oro Wednesdays at 5:00 pm February 10 Enamorada, (1949), Director: Emilio Fernández, 96 minutes, Spanish. Presented by Sergio Martínez Summary: During the Mexican Revolution days a Zapatista General arrives to the City of Cholula. Once he takes over the city he becomes obsessed with the beautiful Beatriz, daughter of the most powerful man in Cholula. February 17 La soldadera, (1967), Director: José Bolaños, 148 minutes, Spanish. Presented by Sergio Martínez Summary: La Soldadera is based on Eisenstein Soldadera portion of the movie Que Viva Mexico! When her husband is taken away by government troops at the time of the Mexican Revolution, la soldadera tries to follow him. After he dies, she joins up with other women in her situation to fight for the Revolution. March 3 La Cucaracha, (1958), Director: Ismael Rodríguez, 97 minutes, Spanish with English subtitles. Presented by Gloria Vásquez Summary: La Cucaracha is a film celebrating the Mexican Revolution. La Cucaracha is a brave woman leading a group of revolutionary of woman. The story represents a bourgeois lady who is forced to join the group and fight for the revolutionary ideals. March 17 El compadre Mendoza, (1934), Directors: Juan Bustillos and Fernando de Fuentes, 85 minutes, Spanish with English Subtitles. Presented by Sergio Martínez Summary: During the Mexican Revolution, Rosalio Mendoza survives by making and winning favors from both, the government forces and Zapatista Army. He welcomes everybody on his hacienda; eventually, the situation becomes unsustainable and he has to take sides.
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Mexican Sentimiento and Gender Politics A
UNIVERSITY OF CALIFORNIA Los Angeles Corporealities of Feeling: Mexican Sentimiento and Gender Politics A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Culture and Performance by Lorena Alvarado 2012 © Copyright by Lorena Alvarado 2012 ABSTRACT OF THE DISSERTATION Corporealities of Feeling: Mexican Sentimiento and Gender Politics by Lorena Alvarado Doctor of Philosophy in Culture and Performance University of California, Los Angeles, 2011 Professor Alicia Arrizón, co-chair Professor Susan Leigh Foster, co-chair This dissertation examines the cultural and political significance of sentimiento, the emotionally charged delivery of song in ranchera genre musical performance. Briefly stated, sentimiento entails a singer’s fervent portrayal of emotions, including heartache, yearning, and hope, a skillfully achieved depiction that incites extraordinary communication between artist and audience. Adopting a feminist perspective, my work is attentive to the elements of nationalism, gender and sexuality connected to the performance of sentimiento, especially considering the genre’s historic association with patriotism and hypermasculinity. I trace the logic that associates representations of feeling with nation-based pathology and feminine emotional excess and deposits this stigmatized surplus of affect onto the singing body, particularly that of the mexicana female singing body. In this context, sentimiento is represented in film, promotional material, and other mediating devices as a bodily inscription of personal and gendered tragedy, ii as the manifestation of exotic suffering, or as an ancestral and racial condition of melancholy. I examine the work of three ranchera performers that corroborate these claims: Lucha Reyes (1906-1944), Chavela Vargas (1919) and Lila Downs (1964).
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CANCIONES 3*Cc&S M\ Aa Música *M£/§Tfvé*Rki* B£¿J Noticias F IL T" J
MÚSICA -NOTICIAS • CANCIONES 3*cC&s M\ aA música *M£/§tfvé*rki* b£¿J noticias f IL t" J. ÜSPy CANCIONES - - SANTIAGO DE CHILE. - ARO Vf No. 63. Junio de 1945 ERDADERO éxito ha sido la grabación del bolero de moda "ECLIPSE", por la con el otro simpática Ligia Moran, que ofrecemos acoplado bolero de éxito "BÉSAME". Armando Bonansco nos ofrece la conga "MAS FELIZ QUE PANCHO" y el fox-trot "BUSCO A MI NENA". Porfirio Díaz y su Típica interpreta el Vals Tenemos '■. "CIELO AZUL" y el paso doble "COLMAO DE AMOR". además a Raúl í de Jascha nos Velasco, que acompañado por la Orquesta Fria'man canta los bole ros "REDENCIÓN" y "DESPIERTA CORAZÓN". En grabaciones nacionales ofrece mos también un selecto conjunto de discos por los mejores artistas del país. NCREIBLE ha í'.io la aceptación que ha tenido en Chile la música pe- j ruana. Filomeno Ormeño y su conjunto, por sus transmisiones radiales y ahora por sus discos Victor, ha sabido hacer comprender la música de su país. Este mes ofrecemos algunos discos de este conjunto, en el que cantan las Hermanas Marto rell y el cúo Inza Segovia-Abanto Morales. OMO siempre ofrecemos al público las canciones que han obtenido mayor éxi to entre los aficionado:. Este mes presentamos la famosa canción "LILI MARLE- '■ ■' NE", que ha sido la favorita de los soldados norteamericanos. La presentamos can- j tada por el espléndido barítono Ferry Como, que nos canta también al reverso, la 1 canción "ADIÓS SUE". ; . ANSOS como "TORRENTE", "QUE NO SEPAN LAS ESTRELLAS" y "ENCUEN TRO", interpretados per famosas orquestas argentinas, como son la de Aníbal Troilo, Carlos di Sarli y Ricardo Tanturi, encontramos este mes en nuestro progra ma de bailables.
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Press Advisory
JOSÉ HUIZAR COUNCILMEMBER OF THE FOURTEENTH DISTRICT PRESS RELEASE FOR IMMEDIATE RELEASE CONTACT: George I. Gonzalez (213) 473-5807 September 13th, 2007 Cell (213) 200-9974 COUNCILMEMBER JOSE HUIZAR AND MAYOR VILLARAIGOSA HOSTS ANNUAL “El GRITO” CEREMONY Thousands Will Celebrated Mexico’s Call for Independence with Headline Performances by Lucero and Antonio Aguilar Jr. LOS ANGELES—Councilmember José Huizar (District 14) will host the annual “El Grito” ceremony along with Mayor Antonio Villaraigosa and representatives from the Mexican Consulate. This year’s entertainment lineup will feature performances by Lucero, Antonio Aguilar Jr., Flor Silvestre, Ninel Conde, La Autoridad de la Sierra. Additionally, Antonio Aguilar Jr. and Flor Silvestre will perform a tribute to one of the greatest ambassadors of Mexican culture - “El Charro de Mexico” Antonio Aguilar. Celebrated annually, “El Grito” marks one of the most important dates on the Mexican cultural calendar – Mexican Independence Day. On September 15, 1810, Father Miguel Hidalgo issued the historic battle cry known as El Grito de Dolores, which set the stage for the birth of the Mexican nation. The ceremony is steeped in patriotic tradition and is highlighted by the ringing of the “rebellion bell” in tribute to the clarion calls to arms that spread from church to church across the Mexican countryside. “As the first Mexican immigrant to be elected to the City Council, it truly is an honor for me to be hosting this year’s ceremony. It provides me with the unique opportunity to celebrate my heritage, while at the same time open the doors of this great city to all the people in attendance today,” said Councilmember Huizar.
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Milestones in Mexican Cinema: 1898-2003" in Spring-Summer 2004
Office of Press and Public Information Fourth Street and Constitution Av enue NW Washington, DC Phone: 202-842-6353 Fax: 202-789-3044 www.nga.gov/press Updated February 19, 2004 National Gallery of Art Showcases "Milestones in Mexican Cinema: 1898-2003" in Spring-Summer 2004 Film still f rom Nazarin, 1958 directed by Luis Buñuel Credit: Mexican Film Institute. Washington, DC--At various times during the last century, Milestones in Mexican Cinema: 1898-2003 has been the leading national cinema of Latin America. From April 24 through July 25, 2004, the National Gallery of Art, Washington will present a film series of 26 historically significant feature films, in newly struck, and subtitled theatrical prints. The series coincides with the exhibitions Courtly Art of the Ancient Maya and The Cubist Paintings of Diego Rivera: Memory, Politics, Place, creating a rich and varied presentation of Mexican art and culture at the Gallery. The films will be shown in the East Building Auditorium. The span of titles and subject matter in the film series is far-ranging, comprising a concise yet comprehensive survey of Mexico's distinctive achievements--from Fernando Fuentes' 1933 classic El compadre Mendoza, set during the Mexican Revolution, to Arturo Ripstein's epic family saga Principio y Fin from 1993. Of particular interest are the nuanced light and shading of cameraman Gabriel Figueroa, evident in several films of the 1940s and 1950s including Los Olvidados (1950), a masterpiece of director Luis Buñuel's Mexican period. The beautifully orchestrated compositions of director Emilio Fernandez are another series highlight, as are the varied adaptations of literary works such as Roberto Gavaldón's film Macario (1959), based on a story by B.
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'Indio' Fernández
University of Calgary PRISM: University of Calgary's Digital Repository Graduate Studies The Vault: Electronic Theses and Dissertations 2019-08-27 The Representation of Mexican Identity through Music in the Films of Emilio ‘Indio’ Fernández (1940-1950) Carril Naranjo, Javier Arturo Carril Naranjo, J. A. (2019). The Representation of Mexican Identity through Music in the Films of Emilio ‘Indio’ Fernández (1940-1950) (Unpublished master's thesis). University of Calgary, Calgary, AB. http://hdl.handle.net/1880/110842 master thesis University of Calgary graduate students retain copyright ownership and moral rights for their thesis. You may use this material in any way that is permitted by the Copyright Act or through licensing that has been assigned to the document. For uses that are not allowable under copyright legislation or licensing, you are required to seek permission. Downloaded from PRISM: https://prism.ucalgary.ca UNIVERSITY OF CALGARY The Representation of Mexican Identity through Music in the Films of Emilio ‘Indio’ Fernández (1940-1950) by Javier Arturo Carril Naranjo A THESIS SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS GRADUATE PROGRAM IN MUSIC CALGARY, ALBERTA AUGUST, 2019 © Javier Arturo Carril Naranjo 2019 ii Abstract Emilio ‘Indio’ Fernández (1904-1986) was a prominent film director of the Golden Age of Mexican Cinema (1936-1956). Central to his work was the representation of the Mexican national identity, which was expressed through the narrative and visual elements of his films. Music was also central in Emilio Fernández’s work, but the soundtracks have only been passingly addressed by the critical literature devoted to Fernández's films.
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1 Mexican Film Censorship and the Creation of Regime Legitimacy
Mexican Film Censorship and the Creation of Regime Legitimacy, 1913-1945 Dissertation Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Reyna Marie Esquivel-King, M.A. Graduate Program in History The Ohio State University 2019 Dissertation Committee: Dr. Stephanie Smith, Advisor Dr. Laura Podalsky Dr. Stanley Blake 1 Copyrighted by Reyna Marie Esquivel-King 2019 2 Abstract My dissertation, entitled, “Mexican Film Censorship and the Creation of Regime Legitimacy, 1913-1945,” argues that Mexican government officials used cinema censorship to disseminate a positive image of Mexico and Mexicans as modern and prosperous, and attempted to create an appearance of stability and control. Utilizing archival sources, newspapers, journals, and film propaganda, I examine how regimes use film censorship as a tool to legitimize their power through images. Specifically, I focus on representations of women, the indigenous, and Mexicans in U.S. cinema. The officials realized the significant persuasive and influential power that visual media had over its vast and far-reaching audiences, especially the increasingly popular form of film. They saw censorship as an efficient and effective tool they could use to create and/or change the course of any given tide of public sentiment or opinion. They implemented film censorship and the use of positive imagery to serve two purposes. One reason being to convince international audiences of Mexico’s status as a modern, powerful, and independent nation. The second was to persuade domestic audiences of the Mexican government’s legitimacy to rule and restore a sense of national pride in order to breed a common desire for national unity.
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Redalyc.Lucha Reyes La Reina Del Estilo Bravío
Estudios sobre las Culturas Contemporáneas ISSN: 1405-2210 [email protected] Universidad de Colima México Garcia-Orozco, Antonia Lucha Reyes la Reina del estilo Bravío Estudios sobre las Culturas Contemporáneas, vol. XIX, 2013, pp. 127-155 Universidad de Colima Colima, México Disponible en: http://www.redalyc.org/articulo.oa?id=31629857007 Cómo citar el artículo Número completo Sistema de Información Científica Más información del artículo Red de Revistas Científicas de América Latina, el Caribe, España y Portugal Página de la revista en redalyc.org Proyecto académico sin fines de lucro, desarrollado bajo la iniciativa de acceso abierto Lucha Reyes la Reina del estilo Bravío Antonia García-Orozco Resumen Lucha Reyes desarrolló el estilo bravío de la canción ranchera, creando otra manera de interpretar canciones folclóricas mexicanas, invirtiendo así, la misoginia implícita de sus letras. Reyes ortogó un nuevo poder tanto para las intérpretes como para su público. A pesar de su éxito, algunos denigraron a Reyes por las connotaciones negativas de la frase “bravía” (Larousse, 1993:109). El propósito del presente texto es examinar la manera en que Lucha Reyes desafió al dominio masculino de la canción ranchera a través del estilo bravío, el cual creaba la posibilidad de incrementar la conciencia feminista de su público. Palabras clave: Lucha Reyes, Canción ranchera, Estilo bravío, Soldaderas Abstract - Lucha Reyes the Queen of the Brave Style Lucha Reyes developed the brave style of the ranchera song, creating another way to interpret Mexican folk songs, reversing the implicit misogyny of the lyrics. Reyes Pasternak a new power for both performers and your audience.
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