DOCSLIB.ORG

100 YEARS of SPANISH CINEMA 9781405184205 1 Pre.Qxd 08/08/2008 15:08 Page Ii 9781405184205 1 Pre.Qxd 08/08/2008 15:08 Page Iii

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
100 YEARS of SPANISH CINEMA 9781405184205 1 Pre.Qxd 08/08/2008 15:08 Page Ii 9781405184205 1 Pre.Qxd 08/08/2008 15:08 Page Iii 9781405184205_1_pre.qxd 08/08/2008 15:08 Page i 100 YEARS OF SPANISH CINEMA 9781405184205_1_pre.qxd 08/08/2008 15:08 Page ii 9781405184205_1_pre.qxd 08/08/2008 15:08 Page iii 100 YEARS OF SPANISH CINEMA Tatjana Pavlovi´c Inmaculada Alvarez, Rosana Blanco-Cano, Anitra Grisales, Alejandra Osorio, and Alejandra Sánchez 9781405184205_1_pre.qxd 08/08/2008 15:08 Page iv This edition first published 2009 © 2009 by Tatjana Pavlovi´c, Inmaculada Alvarez, Rosana Blanco-Cano, Anitra Grisales, Alejandra Osorio, and Alejandra Sánchez Blackwell Publishing was acquired by John Wiley & Sons in February 2007. Blackwell’s publishing program has been merged with Wiley’s global Scientific, Technical, and Medical business to form Wiley-Blackwell. Registered Office John Wiley & Sons Ltd, The Atrium, Southern Gate, Chichester, West Sussex, PO19 8SQ, United Kingdom Editorial Offices 350 Main Street, Malden, MA 02148-5020, USA 9600 Garsington Road, Oxford, OX4 2DQ, UK The Atrium, Southern Gate, Chichester, West Sussex, PO19 8SQ, UK For details of our global editorial offices, for customer services, and for information about how to apply for permission to reuse the copyright material in this book please see our website at www.wiley.com/wiley-blackwell. The right of Tatjana Pavlovi´c, Inmaculada Alvarez, Rosana Blanco-Cano, Anitra Grisales, Alejandra Osorio, and Alejandra Sánchez to be identified as the authors of this work has been asserted in accordance with the Copyright, Designs and Patents Act 1988. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, except as permitted by the UK Copyright, Designs and Patents Act 1988, without the prior permission of the publisher. Wiley also publishes its books in a variety of electronic formats. Some content that appears in print may not be available in electronic books. Designations used by companies to distinguish their products are often claimed as trademarks. All brand names and product names used in this book are trade names, service marks, trademarks or registered trademarks of their respective owners. The publisher is not associated with any product or vendor mentioned in this book. This publication is designed to provide accurate and authoritative information in regard to the subject matter covered. It is sold on the understanding that the publisher is not engaged in rendering professional services. If professional advice or other expert assistance is required, the services of a competent professional should be sought. Library of Congress Cataloging-in-Publication Data 100 years of Spanish cinema / Tatjana Pavlovi´c...[et al.]. p. cm. Includes bibliographical references and index. ISBN 978–1–4051–8420–5 (hbk. : alk. paper) — ISBN 978–1–4051–8419–9 (pbk. : alk. paper) 1. Motion pictures—Spain—History. I. Pavlovi´c, Tatjana. II. Title: One hundred years of Spanish cinema. PN1993. 5. S72A15 2009 791. 430946—dc22 2008028051 A catalogue record for this book is available from the British Library. Set in 10.5/13pt Minion by Graphicraft Limited, Hong Kong Printed and bound in Singapore by Utopia Press Pte Ltd 001 2008 9781405184205_1_pre.qxd 08/08/2008 15:08 Page v Contents List of Figures vii About the Authors viii Acknowledgments x Preface xi 1 Silent Cinema and its Pioneers (1906–1930) 1 El ciego de aldea, Ángel García Cardona 8 Amor que mata, Fructuós Gelabert 10 Don Pedro el Cruel, Ricardo Baños, Albert Marro 12 La aldea maldita, Florián Rey 15 2 Surrealism (1924–1930) and the Advent of Sound (the Second Republic: 1931–1936) 21 Un chien andalou, Luis Buñuel 26 Tierra sin pan, Luis Buñuel 30 3 Spanish Civil War (1936–1939) 39 Suspiros de España, Benito Perojo 46 Canciones para después de una guerra, Basilio Martín Patino 52 4 The Autarky: Papier-Mâché Cinema (1939–1950) 61 Raza, José Luis Sáenz de Heredia 66 Locura de amor, Juan de Orduña 74 9781405184205_1_pre.qxd 08/08/2008 15:08 Page vi vi Contents 5 Neorealism: Status Quo and Dissent (1951–1961) 81 El cochecito, Marco Ferreri 89 Viridiana, Luis Buñuel 96 6 The “Liberal” Dictatorship and its Agony (1962–1975) 104 El verdugo, Luis García Berlanga 113 El jardín de las delicias, Carlos Saura 120 7 Cinema of the Transition: The Period of Disenchantment (1975–1979) 127 El desencanto, Jaime Chávarri 140 El crimen de Cuenca, Pilar Miró 145 8 Post-Franco Spain: The Pedro Almodóvar Phenomenon (1980–1991) 152 Pepi, Luci, Bom y otras chicas del montón, Pedro Almodóvar 161 ¿Qué he hecho yo para merecer esto!, Pedro Almodóvar 169 9 Contemporary Trends (1992 to the Present) 180 Vacas, Julio Medem 194 Carícies, Ventura Pons 203 Flores de otro mundo, Icíar Bollaín 211 The Secret Life of Words (La vida secreta de las palabras), Isabel Coixet 218 Glossary of Film Terms 226 Historical Chronology 232 Notes 246 Bibliography 257 Index 263 9781405184205_1_pre.qxd 08/08/2008 15:08 Page vii Figures Figure 1.1 The city on the other side of the sierra (La aldea maldita, 1930) 18 Figure 2.1 The sliced eye (Un chien andalou, 1929) 28 Figure 2.2 Seduction (Un chien andalou, 1929) 29 Figure 3.1 Couplets of nostalgia (Suspiros de España, 1938) 50 Figure 3.2 “Spain’s salvation” (Canciones para después de una guerra, 1971) 56 Figure 3.3 Poorly paid postwar Spain (Canciones para después de una guerra, 1971) 58 Figure 5.1 The disabled go for a ride (El cochecito, 1960) 93 Figure 5.2 The impossibility of desire (Viridiana, 1961) 100 Figure 5.3 The decadent dinner (Viridiana, 1961) 102 Figure 6.1 Deceptive modernity (El verdugo, 1963) 116 Figure 6.2 The price of modernity (El verdugo, 1963) 118 Figure 6.3 The professional past (El jardín de las delicias, 1970) 124 Figure 8.1 Domestic perversions (Pepi, Luci, Bom y otras chicas del montón, 1980) 166 Figure 8.2 Wear Panties: “Whatever you do, wear panties” (Pepi, Luci, Bom y otras chicas del montón, 1980) 167 Figure 8.3 Consuming the consumer (¿Qué he hecho yo para merecer esto!, 1984) 174 Figure 8.4 “La bien pagá” (¿Qué he hecho yo para merecer esto!, 1984) 176 Figure 9.1 Cow’s eyes (Vacas, 1992) 198 Figure 9.2 Barcelona as perpetrator and confessor (Carícies, 1997) 209 Figure 9.3 Contaminate me, mix with me...(Flores de otro mundo, 1999) 215 Figure 9.4 The austere “comfort” of mundanity (The Secret Life of Words, 2005) 222 9781405184205_1_pre.qxd 08/08/2008 15:08 Page viii About the Authors Tatjana Pavlovi´c is associate professor of Spanish at Tulane University in New Orleans. Her first book is Despotic Bodies and Transgressive Bodies: Spanish Culture from Francisco Franco to Jesús Franco (2003). Her research and teaching interests are twentieth-century Spanish literature and cinema, cultural studies, and film studies. Her next major book project, entitled España cambia de piel: The Mobile Nation (1954–1964), focuses on this key moment of transition in the history of Spanish mass culture. Inmaculada Alvarez received her PhD in Spanish from Tulane Univer- sity in 2006. She was a visiting assistant professor at the University of California, Riverside, and is currently a visiting assistant professor at Clark University. Her research and teaching interests include transatlantic studies, contemporary Spanish cinema and literature, film theory, and Caribbean studies. Rosana Blanco-Cano received her PhD in Spanish from Tulane University in 2006. Currently she is an assistant professor at Trinity University in San Antonio, Texas. Her research and teaching interests are twentieth-century Mexican literature and film, performance, and feminism. Anitra Grisales received her MA in Spanish from Tulane University in 2004. She worked in editorial acquisitions at Duke University Press prior to moving to Oakland, CA, where she is now a freelance editor and translator specializing in film and media studies. She is also a reporter and independent radio producer who focuses on Latino/a issues and on political relations between Latin America and the United States. 9781405184205_1_pre.qxd 08/08/2008 15:08 Page ix About the Authors ix Alejandra Osorio is a professor in the Communications Department of the Universidad Autónoma Metropolitana-Cuajimalpa, Mexico. Her areas of interest are Mexican cinema and photography. Alejandra Sánchez is a PhD candidate at Tulane University in the Depart- ment of Spanish and Portuguese. Her research interests include the body in Latin American performance in the twentieth century and contemporary Latin American literature and cinema. 9781405184205_1_pre.qxd 08/08/2008 15:08 Page x Acknowledgments We have many people to thank for their support, guidance, and encourage- ment at various stages of this project. John Charles, Laura Bass, and Henry Sullivan each gave the manuscript detailed and insightful readings. We are deeply indebted to them for their friendship, ideas, and critical suggestions. Tulane University provided research support and a stimulating intellectual milieu in which to test our project. Thanks also to Anthony Geist and Marvin D’Lugo for years of personal and intellectual support that goes well beyond the pages of this book. We would also like to thank the Program for Cultural Cooperation between the Spanish Ministry of Culture and United States Universities, whose grant for the dissemination of Spanish cinema in the United States provided fund- ing for the film festival “Politics of Memory, Memory of Politics: Film and History in Contemporary Spain” (Tulane University, spring 2007). We thank our editor Jayne Fargnoli and her assistant Margot Morse at Wiley-Blackwell for their efficiency, patience, and commitment to the project. 9781405184205_1_pre.qxd 08/08/2008 15:08 Page xi Preface Trains thundering toward the camera, workers leaving factories, worshippers coming out of churches, and theatrical screen gags were some of the images that thrilled the first moviegoers in Spain in the early 1900s.
Load more

Recommended publications
  • Rafael Gil Y Cifesaenlace Externo, Se
    Cuerpo(s) para nuestras letras: Rafael Gil y CIFESA (1940-1947) José Luis Castro de Paz Catedrático en la Universidad de Santiago de Compostela Texto publicado como introducción del libro: Rafael Gil y CIFESA, Filmoteca Española-Ministerio de Cultura, Madrid, 2007 Cuerpo(s) para nuestras letras: Rafael Gil y CIFESA (1940-1947) Para mis hijas, Beatriz y Alejandra Cuando empecé a hacer cine, pude realizar el cine con el que siempre había soñado. Leía a Galdós, a Unamuno, o a Fernández Flórez y pensaba: ‘¡Qué gran película hay aquí!’. Por eso mis primeras películas son cuentos de Fernández Flórez, de Alarcón, de Jardiel Poncela, etc. Rafael Gil 0. Introducción. Los inicios cinematográficos de Rafael Gil. La administración y el cine después de la Guerra Civil. Nacido el 22 de mayo de 1913 en el Teatro Real de Madrid, del que su padre licenciado en filosofía y letras, abogado y catedrático de latín era conservador, y acostumbrado al ambiente artístico y cultural desde muy joven, Rafael Gil estudia bachillerato en el Colegio de San José, integrado en el Instituto de San Isidro, donde desarrolla una juvenil pero ya profunda afición a la literatura y al cine. Crítico desde muy temprana edad tras serle aceptados los primeros textos que envía a la revista Gran Sport en 1930, publicará artículos sobre cinematografía y críticas de estreno tanto en periódicos (Campeón, 1933-34; La Voz 1931-32; ABC, 1932-36) como en las más importantes revistas especializadas durante la II República (Popular Films, Films Selectos, Nuestro Cinema), sin faltar tampoco asiduas colaboraciones radiofónicas y una no menos activa labor de organizador y difusor de actividades cinematográficas.
    [Show full text]
  • Not Showing at This Cinema
    greenlit just before he died, was an adaptation of A PIN TO SEE THE NIGHT Walter Hamilton’s 1968 novel All the Little Animals, exploring the friendship between a boy and an THE PEEPSHOW CREATURES old man who patrols roads at night collecting the Dir: Robert Hamer 1949 Dir: Val Guest 1957 roadkill. Reeves prepared a treatment, locations Adaptation of a 1934 novel by F. Tennyson Jesse Robert Neville is the last man on earth after a were scouted and Arthur Lowe was to play the about a young woman wrongly convicted as an mysterious plague has turned the rest of the lead. Thirty years later the book was adapted for accomplice when her lover murders her husband; a population into vampires who swarm around his the screen and directed by Jeremy Thomas starring thinly fictionalised account of Edith Thompson and house every night, hungering for his blood. By day, John Hurt and Christian Bale. the Ilford Murder case of 1922. With Margaret he hunts out the vampires’ lairs and kills them Lockwood in the lead, this was something of a with stakes through the heart, while obsessively dream project that Robert Hamer tried to get off searching for an antidote and trying to work out the ground at Ealing. Despite a dazzling CV that the cause of his immunity. Richard Matheson wrote ISHTAR includes the masterpiece Kind Hearts and Coronets the screenplay for The Night Creatures for Hammer Dir: Donald Cammell 1971-73 (1949), Hamer was unable to persuade studio Films in 1957 based on his own hugely influential The co-director of Performance (1970), Cammell boss Michael Balcon to back the project.
    [Show full text]
  • A State of Play: British Politics on Screen, Stage and Page, from Anthony Trollope To
    Fielding, Steven. "The People’s War and After." A State of Play: British Politics on Screen, Stage and Page, from Anthony Trollope to . : Bloomsbury Academic, 2014. 83–106. Bloomsbury Collections. Web. 25 Sep. 2021. <http://dx.doi.org/10.5040/9781472545015.ch-003>. Downloaded from Bloomsbury Collections, www.bloomsburycollections.com, 25 September 2021, 18:24 UTC. Copyright © Steven Fielding 2014. You may share this work for non-commercial purposes only, provided you give attribution to the copyright holder and the publisher, and provide a link to the Creative Commons licence. 3 The People’s War and After Germany invaded Poland on 1st September 1939, forcing a reluctant Neville Chamberlain to declare war two days later. Despite the Prime Minister’s attempt to limit its impact, the conflict set in train transformations that meant Britain would never be the same again. Whether the Second World War was the great discontinuity some historians claim – and the precise extent to which it radicalized the country – remain moot questions, but it undoubtedly changed many people’s lives and made some question how they had been governed before the conflict.1 The war also paved the way for Labour’s 1945 general election victory, one underpinned by the party’s claim that through a welfare state, the nationalization of key industries and extensive government planning it could make Britain a more equal society. The key political moment of the war came in late May and early June 1940 when Allied troops were evacuated from the beaches of Dunkirk. The fall of France soon followed, meaning Britain stood alone against Hitler’s forces and became vulnerable to invasion for the first time since Napoleon dominated Europe.
    [Show full text]
  • Shail, Robert, British Film Directors
    BRITISH FILM DIRECTORS INTERNATIONAL FILM DIRECTOrs Series Editor: Robert Shail This series of reference guides covers the key film directors of a particular nation or continent. Each volume introduces the work of 100 contemporary and historically important figures, with entries arranged in alphabetical order as an A–Z. The Introduction to each volume sets out the existing context in relation to the study of the national cinema in question, and the place of the film director within the given production/cultural context. Each entry includes both a select bibliography and a complete filmography, and an index of film titles is provided for easy cross-referencing. BRITISH FILM DIRECTORS A CRITI Robert Shail British national cinema has produced an exceptional track record of innovative, ca creative and internationally recognised filmmakers, amongst them Alfred Hitchcock, Michael Powell and David Lean. This tradition continues today with L GUIDE the work of directors as diverse as Neil Jordan, Stephen Frears, Mike Leigh and Ken Loach. This concise, authoritative volume analyses critically the work of 100 British directors, from the innovators of the silent period to contemporary auteurs. An introduction places the individual entries in context and examines the role and status of the director within British film production. Balancing academic rigour ROBE with accessibility, British Film Directors provides an indispensable reference source for film students at all levels, as well as for the general cinema enthusiast. R Key Features T SHAIL • A complete list of each director’s British feature films • Suggested further reading on each filmmaker • A comprehensive career overview, including biographical information and an assessment of the director’s current critical standing Robert Shail is a Lecturer in Film Studies at the University of Wales Lampeter.
    [Show full text]
  • El Idilio Amoroso En Las Comedias Blancas De Mirtha Legrand
    UN ROSTRO PARA UNA IDEA: EL IDILIO AMOROSO EN LAS COMEDIAS BLANCAS DE MIRTHA LEGRAND A Face to an Idea: The Love Idyll in the White Comedies with Mirtha Legrand Emeterio DIEZ PUERTAS Universidad Camilo José Cela [email protected] Resumen: El artículo utiliza los conceptos de cronotopo y de final para estudiar las comedias blancas de la actriz argentina Mirtha Legrand. En ellas se propone un modelo de mujer como ángel tutelar del matrimonio. Ahora bien, para ser ese “ángel”, la mujer debe sacrificar su juventud, ceder en sus placeres o esconder su inteligencia, pues solo en el seno de un matrimonio tradicional el idilio amoroso es posible. Que estas películas se exhibiesen en abundancia en España entre 1949 y 1950 demuestra hasta qué punto la cultura hispanoamericana pasa en aquel momento por una concepción patriarcal de los roles de género, si bien el rodaje de La casta Susana en Argentina y su prohibición en España revela que solo en las sociedades cerradas, como la franquista, esa concepción es la única posible. Abstract: The article uses the concepts “chronotope” and “The End” to study the white comedies with the Argentine actress Mirtha Legrand. A model of women as guardian angels of marriage is proposed in them. However, in order to be that “angel” women must sacrifice ©UNED Revista Signa 24 (2015), págs.307-322 307 UN ROSTRO PARA UNA IDEA: EL IDILIO AMOROSO EN LAS... their youth, give up their pleasures or hide their intelligence, as the love idyll is only possible within traditional marriage. The fact that these films were very much exhibited in Spain between 1949 and 1950 shows the extent to which Latin American culture went through a patriarchal conception of gender roles at the time.
    [Show full text]
  • British Movies from Austerity to Affluence, Which Deals Extensively with British films of the 1950S, Was Written in the Mid-1960S and Was Published in 1970
    Raymond Durgnat and A Mirror for England robert murphy If clearly marked personal style is one’s criterion of interest, then few British films reward the concern given to such directors as, say, Dreyer, Buñuel, Franju and Renoir. But other criteria of interest exist, whereby many of the subtlest meanings behind a personal style may be related to the collective vision of a particular tradition, period, background or ‘school’. It’s logical and usual to consider even impersonal and anonymous artworks as an expression of a general consensus (A Mirror for England, p. 4).1 R ’ A Mirror for England: British Movies from Austerity to Affluence, which deals extensively with British films of the 1950s, was written in the mid-1960s and was published in 1970. Given the shifts in attitudes over the past thirty years – in society generally as well as in the little world of film studies – one might expect the judgments expressed there, the choices of what is important, to have become dated and irrelevant. If one reads Roy Armes’s A Critical History of British Cinema, which was published in 1978, one is propelled into a time warp where academics with long hair wore tank tops and flared jeans, and had posters of La Hora de los Hornos on their walls. Armes draws inspiration from a deadly cocktail of Althusserian Marxism and the languid snobbery of C. A. Lejeune to take to task an industry which ‘has never created an adequate working Raymond Durgnat died in June 2002 at the age of 69. The Australian online journal Senses of Cinema devoted a substantial part of its June issue to a Fest- schrift planned to honour his seventieth birthday <www.sensesofcinema.
    [Show full text]
  • Hofstra University Film Library Holdings
    Hofstra University Film Library Holdings TITLE PUBLICATION INFORMATION NUMBER DATE LANG 1-800-INDIA Mitra Films and Thirteen/WNET New York producer, Anna Cater director, Safina Uberoi. VD-1181 c2006. eng 1 giant leap Palm Pictures. VD-825 2001 und 1 on 1 V-5489 c2002. eng 3 films by Louis Malle Nouvelles Editions de Films written and directed by Louis Malle. VD-1340 2006 fre produced by Argosy Pictures Corporation, a Metro-Goldwyn-Mayer picture [presented by] 3 godfathers John Ford and Merian C. Cooper produced by John Ford and Merian C. Cooper screenplay VD-1348 [2006] eng by Laurence Stallings and Frank S. Nugent directed by John Ford. Lions Gate Films, Inc. producer, Robert Altman writer, Robert Altman director, Robert 3 women VD-1333 [2004] eng Altman. Filmocom Productions with participation of the Russian Federation Ministry of Culture and financial support of the Hubert Balls Fund of the International Filmfestival Rotterdam 4 VD-1704 2006 rus produced by Yelena Yatsura concept and story by Vladimir Sorokin, Ilya Khrzhanovsky screenplay by Vladimir Sorokin directed by Ilya Khrzhanovsky. a film by Kartemquin Educational Films CPB producer/director, Maria Finitzo co- 5 girls V-5767 2001 eng producer/editor, David E. Simpson. / una produzione Cineriz ideato e dirètto da Federico Fellini prodotto da Angelo Rizzoli 8 1/2 soggètto, Federico Fellini, Ennio Flaiano scenegiatura, Federico Fellini, Tullio Pinelli, Ennio V-554 c1987. ita Flaiano, Brunello Rondi. / una produzione Cineriz ideato e dirètto da Federico Fellini prodotto da Angelo Rizzoli 8 1/2 soggètto, Federico Fellini, Ennio Flaiano scenegiatura, Federico Fellini, Tullio Pinelli, Ennio V-554 c1987.
    [Show full text]
  • JAHRESBERICHT 2014 Zum Gel Eit
    JAHRESBERICHT 2014 Zum Gel eit Das Jahr 2014 sollte ein Jahr der Freude werden, des Feierns von Festen unterschiedlicher Art, aber mit einem gemein - sa men Anlass: dem 50. Geburtstag des Filmmuseums. Am 2. Februar 2014 starb Philip Seymour Hoffman im 47. Lebensjahr. Er war im Juni 2009 im Unsichtbaren Kino zu Gast gewesen, ein genialer Menschendarsteller im Karohemd, der dem Publikum tiefen Einblick gab in das Verhältnis von Regisseur und Schauspieler. Am 22. April 2014 starb Michael Glawogger im 55. Le - bensjahr. Er war dem Filmmuseum in vielfacher Weise verbunden, von seiner eigenen künstlerischen Bildung über die künstlerische Bildung anderer, als Förderer, Filmpate und Deponent seiner Arbeiten bis zur langjährigen privaten Freundschaft – und mehr. Am 30. Juli 2014 starb Harun Farocki im 71. Lebensjahr. Ihm war im März 2006 eine Retrospektive und Carte blanche gewidmet gewesen; als Lehrbeauftragter der Aka - demie am Schillerplatz führte er seine Studierenden immer wieder zu Sondervorführungen in unser Haus, und auch er war ein persönlicher Freund vieler Jahre. thek 2015 mit Unterstützung der Kulturabteilung des Bun - Die Gründer des Filmmuseums Am 23. August 2014 starb Florian Flicker im 50. Lebens - deskanzleramtes präzise erfasst und bearbeitet werden Peter Kubelka und jahr. Er hätte ein lieber Gast auf den genannten Festen sein wird (siehe Seite 9), und der in Entstehung befindliche Film Peter Konlechner, 2014 sollen, während er gegen eine Krankheit kämpfte und die - von Michael Palm (S. 8). Und sogar die „Feuerwerke“ – der © Alexi Pelekanos sen Kampf am Ende verlor. Festakt am 6. März im Palais Lobkowitz (S. 3) und das Som - Am 17. September 2014 starb Peter von Bagh im merfest am 26.
    [Show full text]
  • Descargar Listado (PDF)
    CATÁLOGO DE PROSPECTOS DE CINE DE ESPAÑA www.prospectosdecine.com COLECCIÓN COMPLETA 16707 prospectos listados 00001. EL ENEMIGO EN LA SANGRE Distribuidora: Repertorio M.DE MIGUEL Feind im Blut 1931 1h 16min 00002. EL PRÓFUGO (B2) Distribuidora: Metro Goldwyn Mayer VARIEDAD/COLOR `The Squaw Man` de Cecil B. DeMille tt0022428 00003. EL PROFUGO (B1) Distribuidora: METRO VARIEDAD/COLOR 00004. EL PRÓFUGO (A3) Distribuidora: METRO VARIEDAD/COLOR 00005. EL PRÓFUGO (A2) Distribuidora: METRO VARIEDAD/COLOR 00006. EL PRÓFUGO (A1) Distribuidora: METRO VARIEDAD/COLOR 00007. SOY UN PRÓFUGO Distribuidora: Columbia 00008. SOY UN PRÓFUGO Distribuidora: Columbia Programa historieta 00009. SOY UN PRÓFUGO 00010. SOY UN PRÓFUGO 00011. SOY UN PRÓFUGO 00012. SOY UN PRÓFUGO Distribuidora: Columbia Films, S.A. 00013. SOY UN PRÓFUGO Distribuidora: Columbia Films 00014. SOY UN PRÓFUGO 00015. ¡UN TÍO IMPONENTE! (2) Distribuidora: SELECCIONES FUSTER DIFERENCIAS/DISTRIBUIDORA. 00016. CENIZAS BAJO EL SOL Distribuidora: BENGALA FILMS 00017. LOS MERCADERES DE LA MUERTE (3) Distribuidora: PARAMOUNT VARIEDAD/COLOR interno, con respecto a los modelos (1) y (2). 00018. CENTAUROS DEL DESIERTO (2) Distribuidora: MERCURIO DIFERENCIAS/TACHÓN donde ponía Vistavisión. 00019. EL ASESINO INVISIBLE (2) Distribuidora: RADIO FILMS VARIEDAD/COLOR. 00020. JUNTOS HASTA LA MUERTE (2) Distribuidora: WARNER VARIEDAD/COLOR. 00021. EL 113 Distribuidora: EXCLUSIVAS HERRERA ORIA 00022. LA CONSENTIDA Distribuidora: CIFESA 00023. UNA AVENTURA NUPCIAL Distribuidora: ALIANZA CINEMATOGRÁFICA ESPAÑOLA 00024. GUERRA DE VALSES (2) Distribuidora: UFA VARIEDAD/COLOR. 00025. ROSA DE FRANCIA (2) Distribuidora: FOX VARIEDAD/COLOR. 00026. GRANADEROS DEL AMOR (2) Distribuidora: FOX VARIEDAD/COLOR. 00027. HOLLYWOOD CONQUISTADO (2) Distribuidora: FOX VARIEDAD/COLOR. 00028. UN PAR DE DETECTIVES Distribuidora: FOX 00029.
    [Show full text]
  • La Construcción De Una Estrella Cinematográfica
    La construcción de una estrella cinematográfica El caso de Zuly Moreno en el marco del star-system argentino del período clasico-industrial Pardo, Soledad Molfetta, Andrea Celia 2018 Tesis presentada con el fin de cumplimentar con los requisitos finales para la obtención del título Doctor de la Facultad de Filosofía y Letras de la Universidad de Buenos Aires en Artes La construcción de una estrella cinematográfica. El caso de Zully Moreno en el marco del star-system argentino del período clásico-industrial Tesis Doctoral Doctoranda: Lic. Soledad Pardo Directora: Dra. Andrea Celia Molfetta Co-directora: Dra. Gabriela Fabbro Universidad de Buenos Aires Facultad de Filosofía y Letras Septiembre de 2017 0 Índice 1. Prólogo………………………………………………………………………5 2. Introducción……………………………………………………………….10 3. Panorama de los estudios sobre el cine argentino del período clásico- industrial y el star-system 3.1. Los estudios sobre el cine argentino del período clásico-industrial…...17 3.2. Los estudios sobre las estrellas cinematográficas y el star-system 3.2.1. Introducción………………………………………………...32 3.2.2. La heterogeneidad de los estudios sobre el star-system cinematográfico: grados de profundidad y perspectivas de abordaje…………………………………………………….35 3.2.3. Estudios generales y estudios de casos……………………..43 3.2.4. Las estrellas en los productos de la industria cultural y en los estudios académicos………………………………………..47 3.2.5. Consideraciones finales…………………………………….53 4. De extra a gran estrella: la carrera de Zully Moreno 4.1. Introducción: contexto histórico y condiciones de aparición del star- system cinematográfico…………………………………………………55 4.2. Los inicios de Zully (1938-1943)………………………………….......65 4.3. El lanzamiento al estrellato cinematográfico: Stella (1943)…………...85 4.4.
    [Show full text]
  • Viewers in the Audience
    ABSTRACT In my project, I analyze the star text of María Félix (1914-2002). In spite of her prolific film career of 47 films and her memorable image in the media, the scholarly treatment of her films and larger star text has been limited. As vintage film magazines and Mexican melodramatic comics attest, Félix was very visible and her personal life was scrutinized as her “real-life” self played out characteristics from her mala mujer film persona—her multiple husbands and lovers, her relationship with her son, and even her wardrobe choices. I analyze many of her films and her image in other forms of media such as fotonovelas, trade magazines, and her biographical sources in the following chapters. Her star image is powerful and far-reaching and presents an alternative model of Mexican womanhood from the beginning of her film career in the 1940s through (and even beyond) her last film in 1970. The star text of María Félix is a site that registered tensions between modernity and the traditional at a particular moment in Mexican history. The Mexican Revolution of 1910 brought many changes to society as warfare destabilized the family and disrupted the region. After the war, the Revolution became institutionalized as the government attempted to put into practice the goals of the Revolution. From the 1940s and throughout 1950s and 1960s it was a time of increased ii industrialization and urbanization as people migrated to the cities to find employment, as it became increasingly difficult to support a family through farming. These social tensions registered in her films and star text are in relation to women’s changing roles as Mexican women gained more political freedoms, including national suffrage in 1953, and began working outside the home as the nation became more industrialized and urbanized throughout the 1940s and subsequent decades.
    [Show full text]
  • Taking the Bull by the Horns: Representing Gender Through Animals in Franco's Spain Irene López-Rodríguez Thesis Submitted T
    Taking the Bull by the Horns: Representing Gender through Animals in Franco’s Spain Irene López-Rodríguez Thesis submitted to the University of Ottawa in partial fulfillment of the requirements for the Doctorate in Philosophy degree in Spanish Department of Modern Languages and Literatures Faculty of Arts University of Ottawa © Irene López-Rodríguez, Ottawa, Canada, 2021 ii Table of Contents Taking the Bull by the Horns: Representing Gender through Animals in Franco’s Spain Table of contents ……………………………………………………………………...….……ii Abstract/Résumé/Resumen ……………………………………………………………….......iv Acknowledgments …………………………………………………………………………...vii Introduction ……………………………………………………………………………............1 1. The Bestiary in Franco’s Spain ……………………………………………………1 2. Aims of the Dissertation, Corpus and Methodology ………………………………3 3. A Bird’s Eye View of the Chapters ……………………………………………....12 Chapter 1. The Rhetoric of Animality: The Bestial Masculine and Feminine……………….20 Chapter 2. Animal Metaphors: Shaping Nation and Gender in Franco’s Spain……………...29 Chapter 3. Animals and Masculinities………………………………………………...…...…34 3.1. The Bull of Francoism……………………………………………………………34 3.1.1. The Dictator and the Bull ……………………………………………...34 3.1.2. Bull-like Women and Oxen-like Men………………….….…………...49 3.1.3. From the Bull Ring to the Big Screen: The Macho Ibérico as a Bull in National Cinema………………………………………………………55 3.2. Eagles and Capons.................................................................................................89 3.2.1. The Predatory Bird and Its Domestic Prey………………………….….89 3.2.2. On the Hunt for the Homosexual………………………………...........103 3.2.3. A Dog’s Life: Animal Metaphors and Filmic Representations of Non-Heteronormative Masculinities in the Comedia de Mariquitas (Sissy Comedies) ……………………………………………………...…….108 Chapter 4. Animals and Femininities …………………………………………………….….116 4.1. From Wild Beasts to Domestic Hens: Women’s Transition from the Second Republic to the Dictatorship.
    [Show full text]