Pedro Almodóvar Part One (1 August – 31 August)
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TV Movies and Series
TV movies and series 2006 Catalan Films & TV Televisió de Catalunya (TVC) Mestre Nicolau, 23, entresol Carrer de la TV3 s/n 08021 Barcelona 08970 Sant Joan Despí (Barcelona) Spain Tel.: + 34 935 524 940 Phone: + 34 935 674 967 Fax: + 34 935 524 953 Fax: + 34 934 731 563 E-mail: [email protected] Director: Àngela Bosch www.tvcatalunya.com Coordinators: Contact: Oriol Baquer Carme Puig - Int’l Department Mònica García - Marketing and Communication David Matamoros - Market Research and Coproductions Carme Romero - Administration Cata Massana - Assistant Director Printed by Ingoprint Dipòsit legal: TV MOVIES 18/9/06 10:12 Página 3 > GENERAL INDEX 3 > INTRODUCTION 4 > TV MOVIES AND SERIES 6 > IN DEVELOPMENT 60 > PRODUCTION & SALES COMPANIES 80 TV MOVIES 18/9/06 10:12 Página 4 THE PRODUCTION OF TV MOVIES HAS PROVED TO BE A FERTILE BREEDING GROUND FOR NEW TALENT, IN WHICH SCRIPTWRITERS, ACTORS, DIRECTORS AND PRO- DUCERS ALIKE PUT THEIR CREATIVE STRENGTHS TO THE TEST IN A GENRE CHARACTERIZED BY ITS IMMEDIACY AND FLEXIBILITY. The most remarkable aspect of TV movies is that they have embraced almost the full gambit of the- mes, though they have perhaps found their greatest area of growth in biopics and news or fact- based stories. This is the legacy the Catalan film and television industry took up very few years ago, and it has since gone on to create a burgeoning portfolio of TV movie titles. Over 50 titles have been broadcast in dedicated slots on Televisió de Catalunya, some involving new approaches to co-production. This catalogue brings together the most recent crop, conceived with a view to accessing all possible sales channels: theatrical release, theme channels, satellite, etc. -
A Paula Ortiz Film Based on “Blood Wedding”
A Paula Ortiz Film A PAULA ORTIZ FILM INMA ÁLEX ASIER CUESTA GARCÍA ETXEANDÍA Based on “Blood Wedding” from Federico García Lorca. A film produced by GET IN THE PICTURE PRODUCTIONS and co-produced by MANTAR FILM - CINE CHROMATIX - REC FILMS BASED ON BLOOD WEDDING THE BRIDE FROM FEDERICO GARCÍA LORCA and I follow you through the air, like a straw lost in the wind. SYNOPSIS THE BRIDE - Based on “Blood Wedding” from F. García Lorca - Dirty hands tear the earth. A woman’s mouth shivers out of control. She breathes heavily, as if she were about to choke... We hear her cry, swallow, groan... Her eyes are flooded with tears. Her hands full with dry soil. There’s barely nothing left of her white dress made out of organza and tulle. It’s full of black mud and blood. Staring into the dis- tance, it’s dicult for her to breathe. Her lifeless face, dirtied with mud, soil, blood... she can’t stop crying. Although she tries to calm herself the crying is stronger, deeper. THE BRIDE, alone underneath a dried tree in the middle of a swamp, screams out loud, torn, endless... comfortless. LEONARDO, THE GROOM and THE BRIDE, play together. Three kids in a forest at the banks of a river. The three form an inseparable triangle. However LEONARDO and THE BRIDE share an invisible string, ferocious, unbreakable... THE GROOM looks at them... Years have gone by, and THE BRIDE is getting ready for her wedding. She’s unhappy. Doubt and anxiety consume her. She lives in the middle of white dessert lands, barren, in her father’s house with a glass forge. -
Before the Forties
Before The Forties director title genre year major cast USA Browning, Tod Freaks HORROR 1932 Wallace Ford Capra, Frank Lady for a day DRAMA 1933 May Robson, Warren William Capra, Frank Mr. Smith Goes to Washington DRAMA 1939 James Stewart Chaplin, Charlie Modern Times (the tramp) COMEDY 1936 Charlie Chaplin Chaplin, Charlie City Lights (the tramp) DRAMA 1931 Charlie Chaplin Chaplin, Charlie Gold Rush( the tramp ) COMEDY 1925 Charlie Chaplin Dwann, Alan Heidi FAMILY 1937 Shirley Temple Fleming, Victor The Wizard of Oz MUSICAL 1939 Judy Garland Fleming, Victor Gone With the Wind EPIC 1939 Clark Gable, Vivien Leigh Ford, John Stagecoach WESTERN 1939 John Wayne Griffith, D.W. Intolerance DRAMA 1916 Mae Marsh Griffith, D.W. Birth of a Nation DRAMA 1915 Lillian Gish Hathaway, Henry Peter Ibbetson DRAMA 1935 Gary Cooper Hawks, Howard Bringing Up Baby COMEDY 1938 Katharine Hepburn, Cary Grant Lloyd, Frank Mutiny on the Bounty ADVENTURE 1935 Charles Laughton, Clark Gable Lubitsch, Ernst Ninotchka COMEDY 1935 Greta Garbo, Melvin Douglas Mamoulian, Rouben Queen Christina HISTORICAL DRAMA 1933 Greta Garbo, John Gilbert McCarey, Leo Duck Soup COMEDY 1939 Marx Brothers Newmeyer, Fred Safety Last COMEDY 1923 Buster Keaton Shoedsack, Ernest The Most Dangerous Game ADVENTURE 1933 Leslie Banks, Fay Wray Shoedsack, Ernest King Kong ADVENTURE 1933 Fay Wray Stahl, John M. Imitation of Life DRAMA 1933 Claudette Colbert, Warren Williams Van Dyke, W.S. Tarzan, the Ape Man ADVENTURE 1923 Johnny Weissmuller, Maureen O'Sullivan Wood, Sam A Night at the Opera COMEDY -
LA PIEL QUE HABITO the SKIN I LIVE in Dirigido Por/Directed by PEDRO ALMODÓVAR
LA PIEL QUE HABITO THE SKIN I LIVE IN Dirigido por/Directed by PEDRO ALMODÓVAR Productora/Production Company: EL DESEO D.A., S.L. Francisco Navacerrada, 24. 28028 Madrid. Tel.: +34 91 724 81 99. Fax: +34 91 355 74 67. www.eldeseo.es ; [email protected] En asociación con/In Association with: BLUE LAKE ENTERTAINMENT, FILMNATION ENTERTAINMENT. Con la participación de/With the participation of: TVE, CANAL+ ESPAÑA. Director: PEDRO ALMODÓVAR. Producción/Producers: PEDRO ALMODÓVAR, AGUSTÍN ALMODÓVAR, ESTHER GARCÍA. Producción asociada/Associate Producer: BÁRBARA PEIRÓ. Dirección de producción/Line Producer: TONI NOVELLA. Jefe de producción/Production Manager: SERGIO DÍAZ. Guión/Screenplay: PEDRO ALMODÓVAR, CON LA COLABORACIÓN DE AGUSTÍN ALMODÓVAR. Inspirado en la novela "Tarántula" de / Based on the novel Tarantula by THIERRY JONQUET de Éditions Gallimard Fotografía/Photography: JOSÉ LUIS ALCAINE. Cámara/Camera Operator: JOAQUÍN MANCHADO. Steadicam: RAMÓN SÁNCHEZ. Música/Score: ALBERTO IGLESIAS. Dirección artística/Production Design: ANTXON GÓMEZ. Vestuario/Costume Design: PACO DELGADO, CON LA COLABORACIÓN DE JEAN-PAUL GAULTIER. Montaje/Editing: JOSÉ SALCEDO. Montaje de sonido/Sound Design: PELAYO GUTIÉRREZ. Sonido/Sound: IVÁN MARÍN. Mezclas/Re-recording Mixer: MARC ORTS. Ayudante de dirección/Assistant Director: MANU CALVO. Casting: LUIS SAN NARCISO. Maquillaje/Make-up: KARMELE SOLER. Efectos especiales de maquillaje/Special Make-up Effects: DDT. Web: www.lapielquehabito.com Peluquería/Hairdressing: MANOLO CARRETERO. Efectos especiales/Special Effects: REYES ABADES. Efectos digitales/Visual Effects: EDUARDO DÍAZ (SUPERVISIÓN), EL RANCHITO. Intérpretes/Cast: ANTONIO BANDERAS (Robert Ledgard), ELENA ANAYA (Vera), MARISA PAREDES (Marilia), JAN CORNET (Vicente), ROBERTO ÁLAMO (Zeca), BLANCA SUÁREZ (Norma), EDUARD FERNÁNDEZ (Fulgencio), SUSI SÁNCHEZ (Madre de Vicente), BÁRBARA LENNIE (Cristina), FERNANDO CAYO (Médico), JOSÉ LUIS GÓMEZ (Presidente del Instituto de Biotecnología). -
Equipo Crónica
Equipo Crónica Tomàs Llorens 1 This text is published under an international Attribution-NonCommercial-NoDerivs Creative Commons licence (BY-NC-ND), version 4.0. It may therefore be circulated, copied and reproduced (with no alteration to the contents), but for educational and research purposes only and always citing its author and provenance. It may not be used commercially. View the terms and conditions of this licence at http://creativecommons.org/licenses/by-ncnd/4.0/legalcode Using and copying images are prohibited unless expressly authorised by the owners of the photographs and/or copyright of the works. © of the texts: Bilboko Arte Ederren Museoa Fundazioa-Fundación Museo de Bellas Artes de Bilbao © Equipo Crónica (Manuel Valdés), VEGAP, Bilbao, 2015 Photography credits © Archivo Fotográfico Museo de Arte Contemporáneo de Alicante, MACA: fig. 9 © Archivo Fotográfico Museo Nacional Centro de Arte Reina Sofía: figs. 11, 12 © Bilboko Arte Ederren Museoa-Museo de Bellas Artes de Bilbao: figs. 15, 20 © Colección Arango: fig. 18 © Colección Guillermo Caballero de Luján: figs. 4, 7, 10, 16 © Fundación “la Caixa”. Gasull fotografía: fig. 8 © Patrimonio histórico-artístico del Senado: fig. 19 © Stiftung Museum Kunstpalast - ARTOTHEK: fig. 14 Original text published in the catalogue Equipo Crónica held at the Bilbao Fine Arts Museum (10 February to 18 May 2015). Sponsored by: 2 1 Estampa Popular de Valencia and the beginnings of Equipo Crónica Founded in 1964, Equipo Crónica and Estampa Popular de Valencia presented themselves to the public as two branches of a single project. Essentially, however, they were two different, independent ones and either could have appeared and evolved without the other. -
It's a Woman's World: Almodóvar's Fighting Girls Vs. the Struggles Of
It’s a Woman’s World: Almodóvar’s Fighting Girls vs. the Struggles of the 90s Casey Watson Marshall University Spanish Capstone Watson 2 Pedro Almodóvar is a well-known director that centers his films around his home country of Spain. Almodóvar was one of the heads of the arts movement called La Movida Madrileña. Dr. Mark Allinson wrote the book A Spanish Labyrinth: Films of Pedro Almodóvar, which analyzes Almodóvar’s background and breaks down his films, “Pedro Almodóvar symbolized free and democratic Spain – as its chronicler and as its agent provocateur…” (Allinson 3). Almodóvar has been seen as a provocateur for his shock-filled and controversial films. His films have been seen as a starter of a movement of liberating Spain from its oppressed past and a look into the dark sides of the world. Almodóvar used his film, All about My Mother to fight against the oppression of women and the LGBTQ community from Spain’s history and to bring forth the struggles that were faced in the 1990s. The oppression of these groups is rooted in Spain’s history that goes back to the coup d’état of the Republic and the dictatorship of Franco. The Republic, 1931-1939, was a golden age of for women in Spain. “According to the historian Mirta Núñez (2004), the Republic prompted women to have and seek an autonomous presence in the public sphere, a presence not subordinated to men. It pushed them to seek and find paid employment in order to make a living on their own, and it also tried to instill equality in early education” (Ayerra 247). -
TESIS DOCTORAL a CARGO DE: Dña
UNIVERSIDAD COMPLUTENSE DE MADRID FACULTAD DE C.C. DE LA INFORMACIÓN Departamento Comunicación Audiovisual y Publicidad I (CAPV 1) IMAGEN FÍLMICA DEL LESBIANISMO A TRAVÉS DE LOS PERSONAJES PROTAGONISTAS EN EL CINE ESPAÑOL TESIS DOCTORAL A CARGO DE: Dña. Irene Pelayo García DIRECTOR: Dr. D. Juan Carlos Alfeo Álvarez Madrid, 2009 - 1 - - 2 - AGRADECIMIENTOS Quiero dar las gracias a Mar Marcos Molano por transmitirme la belleza del cine a través de sus clases y por hacerme desear, en definitiva, dedicarme a esto; probablemente sin ella, nunca habría empezado un doctorado. En Juan Carlos Alfeo Álvarez, mi director de tesis, he encontrado no sólo un experto en la materia a la que yo me asomo como aprendiz, sino también un ejemplo a seguir y el apoyo moral (y ortográfico) que todo doctorando necesita. Además, su humor y sencillez han hecho que me sintiera cerca a pesar de los 3.000 km que nos han separado. A Miguel, impagable fuente de cariño, tranquilidad y optimismo en los momentos más difíciles de este proceso. A mis padres, por apoyarme en todo momento y hacer todos los esfuerzos para que yo tenga la oportunidad de dedicarme a lo que he elegido. A mis hermanos: Juan y Adolfo, cómplices e imprescindibles, sin cuyo empujoncito de ―hermanos mayores‖ todo habría sido mucho más difícil. Gracias también a mis amigos, simplemente el poder pensar en ellos me ha sacado de momentos grises. Gracias a todos vosotros y en especial a María Lorenzo, Rocío Rubio, Gonzalo Guzmán, Flor Mateo, Alejandra Cantero, Tomislav Ivancic, Kim Moberger, Lena von Sperber y Martin Ugander. -
L'influence De La Culture Catholique Sur Les Œuvres D'alfred Hitchcock Et De Pedro Almodóvar
L’influence de la culture catholique sur les œuvres d’Alfred Hitchcock et de Pedro Almodóvar Merve Sehirli Nasir To cite this version: Merve Sehirli Nasir. L’influence de la culture catholique sur les œuvres d’Alfred Hitchcock etde Pedro Almodóvar. Art et histoire de l’art. Université Jean Moulin (Lyon III), 2020. Français. NNT : 2020LYSE3011. tel-03146845v2 HAL Id: tel-03146845 https://hal.archives-ouvertes.fr/tel-03146845v2 Submitted on 12 Apr 2021 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. N°d’ordre NNT : 2020LYSE3011 THÈSE de DOCTORAT DE L’UNIVERSITÉ DE LYON opérée au sein de L’Université Jean Moulin Lyon 3 Ecole Doctorale N° 484 Lettres, Langues, Linguistique et Arts Discipline de doctorat : Arts, cultures médiatiques et communication Soutenue publiquement le 18/02/2020, par : Merve SEHIRLI NASIR L'influence de la culture catholique sur les œuvres d'Alfred Hitchcock et de Pedro Almodóvar Devant le jury composé de : BARNIER Martin Professeur des universités, Université Lumière - Lyon 2, Président LE CORFF Isabelle Professeure des universités, -
The Filmic Qualities of Tennessee Williams' Plays and Stories, Their
PEDRO ALMODÓVAR’S “HOMAGE” TO TENNESSEE WILLIAMS MICHAEL S. D. HOOPER “A Streetcar Named Desire has marked my life.”1 The filmic qualities of Tennessee Williams’ plays and stories, their perceived adaptability and the writer’s own willingness to explore the possibilities of an emergent Hollywood cinema in the early part of his career have contributed in no small part to the wide reach of his success and reputation. Indeed, his experimentation with dramatic forms, evident as early as 1944 with The Glass Menagerie and its “plastic theatre”,2 has been seen as an extension of the techniques Williams no doubt assimilated from a youth spent in movie houses: The drama of Tennessee Williams derives its lyric naturalism from the adaptation of the modern short story for the cinematic theatre. Throughout the canon, film techniques undermine the conventions of stage realism. Music comes out of nowhere. Lighting is symbolic.3 Williams often seems to have had one eye on a broader canvas, one which eschews the limitations of theatrical mimesis and which measurably assisted the transition of his work to the big screen. Notwithstanding these artistic overlaps, we have, in the post-war Hollywood versions of his plays, a second Tennessee Williams, one that may, for a variety of reasons, have reached a receptive public 1 Manuela in Todo sobre mi madre, directed by Pedro Almodóvar, El Deseo, 1999. 2 In his “Production Notes” for The Glass Menagerie, Williams writes about this as a concept that “must take the place of the exhausted theatre of realistic conventions”. See Tennessee Williams, The Glass Menagerie, in The Theatre of Tennessee Williams, New York: New Directions, 1971, I, 131. -
The Altering Eye Contemporary International Cinema to Access Digital Resources Including: Blog Posts Videos Online Appendices
Robert Phillip Kolker The Altering Eye Contemporary International Cinema To access digital resources including: blog posts videos online appendices and to purchase copies of this book in: hardback paperback ebook editions Go to: https://www.openbookpublishers.com/product/8 Open Book Publishers is a non-profit independent initiative. We rely on sales and donations to continue publishing high-quality academic works. Robert Kolker is Emeritus Professor of English at the University of Maryland and Lecturer in Media Studies at the University of Virginia. His works include A Cinema of Loneliness: Penn, Stone, Kubrick, Scorsese, Spielberg Altman; Bernardo Bertolucci; Wim Wenders (with Peter Beicken); Film, Form and Culture; Media Studies: An Introduction; editor of Alfred Hitchcock’s Psycho: A Casebook; Stanley Kubrick’s 2001: A Space Odyssey: New Essays and The Oxford Handbook of Film and Media Studies. http://www.virginia.edu/mediastudies/people/adjunct.html Robert Phillip Kolker THE ALTERING EYE Contemporary International Cinema Revised edition with a new preface and an updated bibliography Cambridge 2009 Published by 40 Devonshire Road, Cambridge, CB1 2BL, United Kingdom http://www.openbookpublishers.com First edition published in 1983 by Oxford University Press. © 2009 Robert Phillip Kolker Some rights are reserved. This book is made available under the Cre- ative Commons Attribution-Non-Commercial 2.0 UK: England & Wales Licence. This licence allows for copying any part of the work for personal and non-commercial use, providing author -
Guide to the Papers of the Capri Community Film Society
Capri Community Film Society Papers Guide to the Papers of the Capri Community Film Society Auburn University at Montgomery Archives and Special Collections © AUM Library Written By: Rickey Best & Jason Kneip Last Updated: 2/19/2008 TABLE OF CONTENTS Content Page # Collection Summary 2 Administrative Information 2 Restrictions 2-3 Index Terms 3 Agency History 3-4 1 of 64 Capri Community Film Society Papers Scope and Content 5 Arrangement 5-10 Inventory 10- Collection Summary Creator: Capri Community Film Society Title: Capri Community Film Society Papers Dates: 1983-present Quantity: 6 boxes; 6.0 cu. Ft. Identification: 92/2 Contact Information: AUM Library Archives & Special Collections P.O. Box 244023 Montgomery, AL 36124-4023 Ph: (334) 244-3213 Email: [email protected] Administrative Information Preferred Citation: Capri Community Film Society Papers, Auburn University Montgomery Library, Archives & Special Collections. Acquisition Information: The collection began with an initial transfer on September 19, 1991. A second donation occurred in February, 1995. Since then, regular donations of papers occur on a yearly basis. Processed By: Jermaine Carstarphen, Student Assistant & Rickey Best, Archivist/Special Collections Librarian (1993); Jason Kneip, Archives/Special Collections Librarian. Samantha McNeilly, Archives/Special Collections Assistant. 2 of 64 Capri Community Film Society Papers Restrictions Restrictions on access: Access to membership files is closed for 25 years from date of donation. Restrictions on usage: Researchers are responsible for addressing copyright issues on materials not in the public domain. Index Terms The material is indexed under the following headings in the Auburn University at Montgomery’s Library catalogs – online and offline. -
Marisa Paredes Goya De Honor
ACADEMIA.La revista del cine español Marisa Paredes goya de honor A _ foto: alberto ortega alberto foto: 5 Una cosecha con aroma de futuro | Joan Álvarez 6 Marisa Paredes, Goya de Honor 2018: “La cámara tiene que sentir tu calor. Es un ojo que no te tiene que asustar” 14 Especial nominados Premios Goya 2018 18 Mejor Dirección 26 Mejor Dirección Novel 30 Mejor Guión Original 34 Mejor Música Original 37 Mejor Actor Revelación 43 Mejor Actriz Revelación 49 Mejor Dirección Artística 54 Mejor Documental 58 Mejor Diseño de Vestuario 63 Mejor Cortometraje de Animación 68 Joaquín Reyes y Ernesto Sevilla, presentadores de la gala de los Goya 2018: “A este país no le viene mal el glamour. Lo demás, lo traemos de serie” 74 Cine y solidaridad Carlos Bardem. Pilar Bardem y la solidaridad • Mabel Lozano. Desmontando Pretty Woman • Paco Arango Directo al corazón. 90 Ramón Salazar “El dolor transforma cuando se deja de luchar contra él” 94 ¡Bienvenidos! Dani de la Torre “Pienso primero como espectador y luego como director” 96 Rodajes Lluvia de personajes. Diversidad y fuerza FOTO PORTADA: Enrique Cidoncha P ACADEMIA.La revista del cine español coordinación: Ana Ros | [email protected] jefa redacción: Chusa L. Monjas | [email protected] redacción Ana Ros, Chusa L. Monjas, Juan MG Morán | [email protected] Enrique F. Aparicio | [email protected] María Gil | [email protected] [email protected] documentación: Patricia Viada, Eloísa Villar y Marta Tarín diseño: Alberto Labarga | [email protected] imprime: COYVE C/ Zurbano, 3. 28010 Madrid | Tel. 91 5934648 y 91 4482321. Fax: 91 5931492 oficina en barcelona: Paseo de Colón, 6.