DOCSLIB.ORG

50-Proyectos-Uruguayos-En-Ventana-Sur.Pdf

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
50-Proyectos-Uruguayos-En-Ventana-Sur.Pdf AUDIOVISUAL URUGUAY URUGUAY’S AUDIOVISUAL CLUSTER www.audiovisual.com.uy INSTITUTO DEL CINE Y AUDIOVISUAL DEL URUGUAY URUGUAY’S FILM AND AUDIOVISUAL INSTITUTE www.icau.mec.gub.uy URUGUAY FILM COMMISSION & PROMOTION OFFICE www.uruguayfilmcommission.com.uy CÁMARA AUDIOVISUAL DEL URUGUAY URUGUAY’S AUDIOVISUAL CHAMBER www.cadu.org.uy LOCACIONES MONTEVIDEANAS MONTEVIDEO LOCATIONS OFFICE www.montevideo.gub.uy/locaciones URUGUAY XXI www.uruguayxxi.gub.uy MINISTERIO DE TURISMO Y DEPORTE www.turismo.gub.uy MINISTERIO DE RELACIONES EXTERIORES www.mree.gub.uy LARGOMETRAJES Y MEDIOMETRAJES DE FICCIÓN URUGUAYOS URUGUAYAN FEATURE AND MID-LENGTH ___FILMS 3 Videolibrary Screening URUGUAY, ARGENTINA, ALEMANIA, CHILE / 2012 / 35 MM / 119’ / CONTROL Z FILMS - RIZOMA FILMS - PANDORA FICHA TÉCNICA / TECHNICAL DATA FILMPRODUKTION - KINÉ GÉNERO / GENRE Ficción DIRECCIÓN / DIRECTION Pablo Stoll Ward GUIÓN / SCREENPLAY Gonzalo Delgado Galiana y Pablo Stoll PRODUCCIÓN / PRODUCTION Agustina Chiarino y Fernando Epstein FOTOGRAFÍA / CINEMATOGRAPHY Bárbara Álvarez DIRECCIÓN DE ARTE / PRODUCTION DESIGNER Gonzalo Delgado Galiana SONIDO / SOUND Daniel Yafalián EDICIÓN / EDITING Fernando Epstein y Pablo Stoll MÚSICA / MUSIC A Rodolfo (Humberto de Vargas) la vida le parece Reverb - Sebastián Del Muro Eiras REPARTO / CAST vacía y fría en su casa, donde parece sobrar. Por su Humberto De Vargas / Anaclara Ferreyra parte, su primera esposa Graciela (Sara Bessio) y la Palfy / Sara Bessio hija adolescente de ambos, Ana (Anaclara Ferreyra ESTADO DE PRODUCCIÓN Palfy), están viviendo momentos definitorios de PRODUCTION STATUS: Estrenada sus vidas. Sutilmente, Rodolfo tratará de ocupar el lugar que tenía junto a ellas y dejó hace diez años. PREMIOS / AWARDS 3 es una comedia sobre tres personas y su absurda condena: ser una familia. _Participación en la Quincena de los Realizadores, 65° Festival de Cannes. _Premio Itamaraty Festival de Cine For Rodolfo (Humberto de Vargas), life at home Latinoamericano de São Paulo- Mejor feels empty and cold, as if he doesn’t belong there. Película Sudamericana en Coproducción. Meanwhile, his first wife Graciela (Sara Bessio) and their teenage daughter, Ana (Anaclara Ferreyra Pal- CONTACTO EN VENTANA SUR fy), are going through defining moments in their lives. VENTANA SUR CONTACT Subtly, Rodolfo will try to slip back into the place he Agustina Chiarino / Fernando Epstein once had next to them and walked away from ten (598) 98000176 / (598) 98264294 years ago. 3 is a comedy about three people condem- [email protected] ned to the same, absurd fate: being a family. [email protected] FICHA TÉCNICA / TECHNICAL DATA GÉNERO / GENRE ANINA Animación / Ficción URUGUAY-COLOMBIA / 2013 / 80’ / RAIN DOGS CINE - PALERMO DIRECCIÓN / DIRECTION ANIMACIÓN - ANTOCHA FILMS - ANIMACIÓN DIGITAL - DIGITAL 2K Alfredo Soderguit GUIÓN / SCREENPLAY Federico Ivanier, Alfredo Soderguit, Alejo Anina Yatay Salas es una niña de diez años. Su nombre Schettini, Germán Tejeira y Julián Goyoaga BASADO EN / BASED ON y sus apellidos son palíndromos (se leen igual hacia Anina Yatay Salas de Sergio López Suárez delante y hacia atrás) lo que provoca las risas de PRODUCTORES / PRODUCERS algunos de sus compañeros de escuela, en particular Julián Goyoaga, Germán Tejeira, Jhonny de Yisel, a quién Anina llama “la elefanta”. Cuando su Hendrix DIRECTOR DE ANIMACIÓN / ANIMATION DIRECTOR paciencia se agota, Anina se trenza en una pelea con Alejo Schettini Yisel a la hora del recreo. Por este incidente las niñas DIRECCIÓN DE ARTE / PRODUCTION DESIGNER reciben la sanción dentro de un sobre negro, cerrado Sebastián Santana y lacrado, que no pueden abrir durante una semana. EDICIÓN / EDITING En su afán de conocer el castigo agazapado en el Germán Tejeira, Julián Goyoaga MÚSICA / MUSIC misterioso sobre, Anina se meterá en una maraña de Gastón Otero y Bruno Boselli problemas, entre amores secretos, odios confesados, REPARTO / CAST amigas entrañables y enemigas terroríficas. Para Federica Lacaño, María Mendive, César Anina, entender el contenido del sobre se transforma Troncoso, Cristina Morán, Petru Valensky y Roberto Suárez. en un fantástico viaje del egoísmo a la generosidad. ESTADO DE PRODUCCIÓN PRODUCTION STATUS: Finalizada Anina Yatay Salas is a ten-year-old girl. All her names form palindromes, making her the butt of her class- mates’ jokes, and especially of Yisel’s, who Anina sees PREMIOS / AWARDS as an “elephant.” One day, fed up with all the taunting, _Fondo de fomento ICAU, Uruguay. Anina starts a fight with Yisel during recess. The in- _FONA, Montevideo. cident ends with the principalpenalizing the girls and _MVD Socio Audiovisual, Montevideo. calling their parents. Anina receives her punishment _Programa Ibermedia inside a sealed black envelope, which she’s told not _Visions sud est to open until a week later. She’s also forbidden to tell _Fondo de Desarrollo Cinematográfico anyone about the envelope. Her classmates pressure Proimagenes, Fic. her to find out what the punishment will be, while they imagine cruel physical tortures. Anina herself, in her CONTACTO EN VENTANA SUR anxiousness to find out what horrible punishment VENTANA SUR CONTACT awaits her, will get mixed up in a series of troubles, involving secret loves, confessed hatreds, close friend- Rain Dogs Cine Pablo de María 1127 ships, dreadful enemies. Anina’s efforts to understand 11200 Montevideo, Uruguay the content of the envelope turn into an attempt to [email protected] understand the world and her place in it. (598) 24004305 CHICO VENTANA TAMBIÉN QUISIERA TENER UN SUBMARINO WINDOW BOY WOULD ALSO LIKE TO HAVE A SUBMARINE ARGENTINA, URUGUAY / 4K / 110’ / BUEN CINE SRL - NABIS FILMGROUP SRL En un crucero en alta mar, un limpiavidrios del barco descubre una puerta que conduce misteriosamente a un apartamento en Montevideo, en el que vive una muchacha junto a su perrito. El limpiavidrios cruza a verla con frecuencia, escapándose de la vida rutinaria FICHA TÉCNICA / TECHNICAL DATA en el barco y rápidamente se instala junto a ella. Mientras tanto, un grupo de matones infiltrados en el GÉNERO / GENRE Comedia Negra crucero como cocineros intenta seguirle el rastro a un DIRECCIÓN / DIRECTION traficante de chinos, que parece haber desaparecido. Alex Piperno El barco se convierte en una fábrica de sospechosos GUIÓN / SCREENPLAY mortales, entre los que se cuenta el limpiavidrios, Alex Piperno PRODUCCIÓN / PRODUCTION que regresa al barco luego de haber abandonado a la Lukas Valenta Rinner, Ronald Melzer chica del apartamento. ESTADO DE PRODUCCIÓN PRODUCTION STATUS: Desarrollo On a cruise out at sea, one of the boat’s window- cleaners discovers a door that mysteriously leads PREMIOS / to an apartment in Montevideo, where a girl lives AWARDS with her small dog. The window-cleaner crosses- _Binger Development Award (BAL 2012), over frequently, in order to see her and escape his _Hubert Bals Fund routine on the boat, and quickly moves in with her. _Desarrollo de Guion ICAU Meanwhile, group of thugs that have infiltrated the cruise as cooks investigate a person who smuggles CONTACTO EN VENTANA SUR chinese people, who appears to have disappeared. VENTANA SUR CONTACT The cruise becomes a deadly suspect-factory, among Alex Piperno the suspects: the window cleaner, who returns after (549) 1162443307 abandoning the girl from the apartment. [email protected] CLEVER URUGUAY, ARGENTINA / 35 MM / 90’ MONTELONA CINE - CINEKDOQUE FICHA TÉCNICA / TECHNICAL DATA GÉNERO / GENRE Ficción (Comedia) DIRECCIÓN / DIRECTION Federico Borgia, Guillermo Madeiro GUIÓN / SCREENPLAY Federico Borgia, Guillermo Madeiro Luego de un divorcio no deseado, Clever (33), un PRODUCCIÓN / PRODUCTION Federico Borgia, Francisco Magnou, profesor de artes marciales de un modesto club Federico Veiroj de barrio de Montevideo, busca la manera de FOTOGRAFÍA / CINEMATOGRAPHY aplacar su angustia. El cuidado de su físico y el Ramiro González tuneado de su auto son su principal distracción. DIRECCIÓN DE ARTE / PRODUCTION DESIGNER En pocos días habrá una exposición de autos tu- Gonzalo Delgado SONIDO / SOUND neados. Obsesionado por lucir unos fuegos muy Raúl Locatelli llamativos, Clever deja de lado cualquier tipo EDICIÓN / EDITING de responsabilidad y deambula en su Chevette Juan Ignacio Fernández rumbo a un pueblo remoto en busca del paradero MÚSICA / MUSIC Ismael Varela de este personaje misterioso. Su viaje, convertido REPARTO / CAST en una aventura solitaria y absurda, será en el Hugo Piccinini fondo un intento desesperado de reencontrarle ESTADO DE PRODUCCIÓN un sentido a su vida. PRODUCTION STATUS: Desarrollo After an unwished divorce, Clever (33), a martial arts PREMIOS / AWARDS instructor at a modest neighborhood club in Montevideo _Fondo de Fomento ICAU para desarrollo. city, seeks the way to overcome his sadness. Working _Fondo de Fomento ICAU para producción. out and tuning his beloved car are his main distractions. _Mejor guión inédito 32º Festival del nuevo In a few days there is going to be a tuning cars show. cine latinoamericano de la Habana 2010. Obsessed with showing flashy painted fires on his -es teemed car during the event, Clever leave behind all his CONTACTO EN VENTANA SUR responsibilities and will wander around in his Chevette VENTANA SUR CONTACT towards a remote village, looking for the whereabouts of this mysterious character. His journey, transformed Francisco Magnou in a lonely and absurd adventure, it´s really a desperate (598) 99742898 attempt to rediscover some sense to his life. [email protected] CRUZ DEL SUR
Load more

Recommended publications
  • Animated Filmand the Construction of a Caribbean Cultural Identity
    KRISTIAN VAN HAESENDONCK* Universidad de Amberes (Bélgica) [email protected] Animated film and the Construction of a Caribbean Cultural Identity ¡Vampiros en la Habana! by Juan Padrón and Chico y Rita by Fernando Trueba and Javier Mariscal *This article was written in the framework of the “Actie terugkeermandaten 2014” research program led by the Belgian Federal Science Policy. vol 13 / Dic.2015 79-98 pp Recibido: 12-10-2015 - revisado 10-11-2015 - aceptado: 03-12-2015 © Copyright 2012: Servicio de Publicaciones de la Universidad de Murcia. Murcia (España) ISSN edición impresa: 1889-979X. ISSN edición web (http://revistas.um.es/api): 1989-8452 Animated film and the Construction of a Caribbean Cultural Identity Kristian Van Haesendonck CINE DE ANIMACIÓN Y CONSTRUCCIÓN DE UNA IDENTIDAD CULTURAL CARIBEÑA: ¡VAMPIROS EN LA HABANA! DE JUAN PADRÓN Y CHICO Y RITA DE FERNANDO TRUEBA Y JAVIER MARISCAL ABSTRACT This article aims to analyze the representation of cultural identity in two animated films: ¡Vampiros en la Habana! (1985) produced by Cuba’s ICAIC studios, as compared to a recent production from Spain, Chico y Rita (2010), directed by Fernando Trueba and Javier Mariscal. I argue that while Padrón’s film uses humor as a device to deal with the complex political and social context of the eighties, it also emphasizes the Cubanness of its characters, conjugated as both cubanía and cubaneo. Trueba and Mariscal, in turn, use animation language to mold their movie along the lines of cubanismo or “Buena Vista effect”, i.e. the commodification of a local (Cuban) identity. Animation here serves as a way to stress movement, sensuality and music of the region and the “Caribbeanness” of the characters.
    [Show full text]
  • 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.
    [Show full text]
  • 10 FRANCSS 10 Francs, 28 Rue De L'equerre, Paris, France 75019 France, Tel: + 33 1 487 44 377 Fax: + 33 1 487 48 265
    MIPTV - MIPDOC 2013 PRE-MARKET UNABRIDGED COMPREHENSIVE PRODUCT GUIDE SPONSORED BY: NU IMAGE – MILLENNIUM FILMS SINCE 1998 10 FRANCSS 10 Francs, 28 Rue de l'Equerre, Paris, France 75019 France, Tel: + 33 1 487 44 377 Fax: + 33 1 487 48 265. www.10francs.fr, [email protected] Distributor At MIPTV: Christelle Quillévéré (Sales executive) Market Stand: MEDIA Stand N°H4.35, Tel: + 33 6 628 04 377 Fax: + 33 1 487 48 265 COLORS OF MATH Science, Education (60') Language: English Russian, German, Finnish, Swedish Director: Ekaterina Erementp Producer: EE Films Year of Production: 2011 To most people math appears abstract, mysterious, complicated, inaccessible. But math is nothing but another language to express the world. Math can be sensual. Math can be tasted, it smells, it creates sound and color. One can touch it - and be touched by it... Incredible Casting : Cedric Villani (french - he talks about « Taste »). Anatoly Fomenko (russian - he talks about « Sight »), Aaditya V. Rangan (american - he talks about « Smell »), Gunther Ziegler (german - he talks about « To touch » and « Geométry »), Jean- Michel Bismut (french - he talks about « Sound » … the sound of soul …), Maxime Kontsevich (russian - he talks about « Balance »). WILD ONE Sport & Adventure, Human Stories (52') Language: English Director: Jure Breceljnik Producer: Film IT Country of Origin: 2012 "The quest of a young man, athlete and disabled, to find the love of his mother and resolve the past" In 1977, Philippe Ribière is born in Martinique with the Rubinstein-Taybi Syndrome. Abandoned by his parents, he is left to the hospital, where he is bound to spend the first four years of his life and undergo a series of arm and leg operations.
    [Show full text]
  • Consumption and Education in Recent Uruguayan Cinema: Between Sobriety, Joy, and Excess
    Dissidences Hispanic Journal of Theory and Criticism Volume 8 Issue 13 Article 8 May 2018 Consumption and Education in Recent Uruguayan Cinema: Between Sobriety, Joy, and Excess Cristina Miguez Metropolitan State University of Denver, [email protected] Follow this and additional works at: https://digitalcommons.bowdoin.edu/dissidences Part of the Feminist, Gender, and Sexuality Studies Commons, Film and Media Studies Commons, and the Latin American Languages and Societies Commons Recommended Citation Miguez, Cristina (2018) "Consumption and Education in Recent Uruguayan Cinema: Between Sobriety, Joy, and Excess," Dissidences: Vol. 8 : Iss. 13 , Article 8. Available at: https://digitalcommons.bowdoin.edu/dissidences/vol8/iss13/8 This Article / Artículo is brought to you for free and open access by the Journals at Bowdoin Digital Commons. It has been accepted for inclusion in Dissidences by an authorized editor of Bowdoin Digital Commons. For more information, please contact [email protected]. Consumption and Education in Recent Uruguayan Cinema: Between Sobriety, Joy, and Excess Abstract / Resumen Altering our physical and mental states through practices of consumption has formed a basis of our daily habits for hundreds of years. By the eighteenth century, consumption of stimulants such as alcohol, tobacco, coffee, tea, sugar, opiates, cannabis, coca, and other substances was widespread and democratized. Drug consumption was mirrored by a new universality of leisure reading of travel accounts and maps, sentimental novels, and pornographic
    [Show full text]
  • Film Library 2018
    FILM LIBRARY 2018 Latido Films is an international sales agency founded in 2003 to commercialize all-film rights of titles from all over the world (with a line-up of no more than 15 per year to ensure our quality standards), with a special focus in Spain and Latin-America and lately Eastern Europe. Latido has collaborated with prestigious filmmakers such as Juan Jose Campanella (“The Weasels”, “The Secret In Their Eyes” – Oscar for Best Foreign Language Film), Carlos Saura (“J: Beyond Flamenco”, “Fados”), Andres Wood (“Violeta Went To Heaven” and “Machuca”), just to mention some of them. Moreover, we support established arthouse directors such as Krzysztof Zanussi, Mariano Cohn and Gastón Duprat. On the other hand, we work with box office hits such as “Champions“ by Javier Fesser and “The Best Summer Of My Life” by Dani de la Orden. Likewise, Latido seeks after rising up new talents like Bartosz M. Kowalski (“Playground”) and Rodrigo Sorogoyen (“The Realm”, “May God Save Us”). We are also convinced that there’s a market for movies by striking new women directors, such as Pepa San Martin (“Rara”), Laura Mora (“Killing Jesus”) and Arantxa Echevarría (“Carmen & Lola”). Multi-audience animations and ground-breaking documentaries are also a must in our catalogue. FILM LIBRARY 1973. Uruguay is governed by a military dictatorship. One autumn Festivals & Awards A TWELVE-YEAR night, three Tupamaro prisoners are taken from their jail cells in a secret military operation. The order is precise: “As we can’t kill Venice Film Festival 2018 Festival Internacional de Cine de San NIGHT them, let’s drive them mad.” The three men will remain in solitary Sebastián LA NOCHE DE 12 AÑOS confinement for twelve years.Among them is Pepe Mujica –later to Busan International Film Festival Festival Biarritz Amérique Latine become president of Uruguay.
    [Show full text]
  • Inter American Children's Institute Management
    INTER AMERICAN CHILDREN’S INSTITUTE MANAGEMENT REPORT 2015-2018 49TH REGULAR SESSION OF THE GENERAL ASSEMBLY ORGANIZATION OF AMERICAN STATES INTER AMERICAN CHILDREN’S INSTITUTE – MANAGEMENT REPORT2015-2018 Content I. INTRODUCTION ................................................................................................... 2 Report Format............................................................................................................... 3 II. THEMATIC LINES ................................................................................................. 5 A) PRIORITY TOPICS ARISING FROM CONSULTATION WITH THE STATES AND WITH CHILDREN AND YOUTH ........................................................................... 5 VIOLENCE AND NON-OBSERVANCE OF CHILD RIGHTS IN DIFFERENT SETTINGS AND LIFE CYCLES ............................................................................ 5 EARLY CHILDHOOD ............................................................................................ 7 JUVENILE JUSTICE SYSTEMS ......................................................................... 19 CHILD PARTICIPATION ..................................................................................... 25 B) INSTITUTIONAL STRENGTHENING TO PROMOTE A RIGHTS-BASED CULTURE ................................................................................................................... 37 INSTITUTIONAL COMMUNICATION STRATEGY ............................................. 37 STRENGTHENING THE RELATIONSHIP WITH THE COMMITTEE ON THE RIGHTS
    [Show full text]
  • Festival Schedule Amc River East 21 Theatres 322 E
    FESTIVAL SCHEDULE AMC RIVER EAST 21 THEATRES 322 E. Illinois St. ChicagoLatinoFilmFestival.org Chicago, IL 60611 Every side should be the bright side. ® Please drink responsibly. ® Fin∂ your ∫eacƒ Corona Extra Beer. Imported by Crown Imports, Chicago, IL. 2 |180429_COR_ChicagoLatinFilmFest_BrightSide_Niche_8x10.5_v1.indd Chicago Latino Film Festival | April 5-19, 2018 1 2/12/18 4:27 PM 180429 CRN – CX PRINT “VACATION” – CHICAGO LATIN FILM FEST FULL PAGE AD App: InDesign CC Actual Trim: 8"h x 10.5"w Pubs Chicago Latin Film Fest Artist: SR Actual Live: 8"h x 10.5"w Proof #: 1 Actual Bleed: 8.25"h x 10.75"w Scale: 100% Markets: Color: 4/C Fonts: TradeGothic, CoronaCaslon Antique CONNECT WITH US facebook.com/ChicagoLatinoFilmFestival ChicagoLatinoFilmFestival.org @ChicagoLatinoFilmFestival (312) 431-1330 @ChicagoLatinoFF THEATRE AMC RIVER EAST 21 THEATRES 322 E. Illinois St. Chicago, IL 60611 (312) 596-0333 TAKE CTA TO THE FESTIVAL 1-888-968-7282 transitchicago.com GET TO AMC RIVER EAST 21 THEATRES • Bus: #29 (State St. to Navy Pier) / #66 (Chicago Red Line to Navy Pier) / #65 (Grand Red Line to Navy Pier) • Rail: Red Line to Grand station, walk five blocks east to the theatre. Blue Line to Grand, transfer to #65 bus. • Parking: Discounted parking available at River East Parking Garage (lower level of theater, 322 E. Illinois St.). $18 for up to 8 hours. Please pick up the discounted parking voucher at the Festival Information Table at the theatre. WHEELCHAIR ACCESS AMC River East 21 Theatres is wheelchair accessible TICKET INFORMATION MERCHANDISE INFORMATION FILM TICKETS FESTIVAL MERCHANDISE General Admission - $13 Film Festival T-shirt - $15 / $12 ILCC Member ILCC Members / Students / Seniors - $10 Film Festival Poster - $5 (Must present Valid ID) Merchandise can be purchased in the AMC River East 21 Mondays & Tuesdays - $10 Theatres’ lobby.
    [Show full text]
  • Activities Report 2016
    Activities Report 2016 91ST IIN OEA/OAS Regular Meeting of the Directing Council of the Inter-American Children´s Institute Santiago, Chile October, 27-28/2016 1st MANAGEMENT REPORT NOVEMBER 2015 – SEPTEMBER 2016 TO BE SUBMITTED AT THE 91st REGULAR MEETING OF THE DIRECTING COUNCIL IIN-OAS Table of Contents I. INTRODUCTION ................................................................................................................... 2 Report Format ............................................................................................................................. 3 II. THEMATIC LINES ................................................................................................................. 4 A) PRIORITIES ARISING FROM CONSULTATION AMONG STATES AND CHILDREN AND ADOLESCENTS ................................................................................................................ 4 Violence and violations of child rights in different settings and at different cycles of life ... 4 Early Childhood ..................................................................................................................... 9 Sexual Violence and Sexual Exploitation ............................................................................. 14 Juvenile Justice .................................................................................................................... 23 Child Participation ............................................................................................................... 27 B) ISSUES RELATED
    [Show full text]
  • 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.
    [Show full text]
  • Ibero-American Animation Quirino White Paper 2019 Edition 2019 • Quirino Awards
    Ibero-American Animation Quirino White Paper 2019 Edition 2019 • Quirino Awards Editor José Luis Farias Coordination Beatriz Bartolomé Assistants Claudia Rodríguez Beatriz González Martínez Lucía Bustamante Natalia Otero Reyes Arnal Design & Art Sandra Ortega Translation Danilo Iglesias Texts Carlos Biern Francisco Menéndez Nadal Marta García Noemí Coloma Castaño Tenerife Film Commission All images are property of the respective producers. Ibero-American Animation Quirino White Paper 2019 Edition Index Introduction Acknowledgements General overview Ibero-american data base: associations, production companies, training centers & events • Argentina • Honduras • Bolivia • Mexico • Brazil • Nicaragua • Chile • Panama • Colombia • Paraguay • Costa Rica • Peru • Cuba • Portugal • Dominican Republic • Puerto Rico • Ecuador • Spain • El Salvador • Uruguay • Guatemala • Venezuela Annex I: Women Directors in Ibero-American Animation:The Future Will Be Feminist or Will Not Happen Annex II: Training: the foundations of the regional animation of the future Annex III: Case study • Zumbástico Studios: Co-producing Latin American Dreams in Papermotion • Fosfenos Media: Exporting Childhood Educational Content from the Capital of Salsa • Ánima Estudios: The Engine of Animation in Ibero-America • Alê Abreu: Travelling Auteur Animation in the Industrial Jungle Annex IV: Isla Cartoon, a successful case Annex V: The Caribbean Animation industry • Jamaica • Trinidad and Tobago Annex VI: Legal aspects on Ibero-American co-productions Annex VII: Ibero-American animation events throught the year Click to go to your favorite sections Introduction From the very first moment we presented the idea of ​​putting together a white paper of Ibero- American animation, mapping for the first time the animation sector of all Latin America, it happened to us as with the organization of the Quirino Ibero-American Animation Awards, everyone wanted to help, collaborate and be a part of it.
    [Show full text]
  • The Magazine of the Cuban Army’.27 the War Correspondents School Continued to Function Under Duction with Ivens in France
    in this edition : By Camera and by Gun: THE Joris Ivens and the Radicalization of Latin American Filmmakers Susan Martin-Márquez Odyssey to The 17th Parallel Alex Vernon MAGAZINE Unique photos found, Nr 18 | Dec 2013 European Foundation Joris Ivens made by Young Ivens Interviews with: 26 José Venturelli and 3 Paolo Taviani Joris Ivens 38 Leonard Retel Helmrich 24 Ivens and 30 Thomas Waugh contemporary art 42 Jan de Vaal and 40 Joris Ivens in Museums the Netherlands Filmmuseum 48 A secret mecenas of Ivens December 2013 | 18 1 Talking about Ivens with a very vivid Paolo Taviani in his house in Rome, still energetic and filming at the age of 82, is MAGAZINE like talking with an Italian Titan about a Dutch Titan. Last year he and his brother Table of contents Vittorio received the Golden Bear at the 3 ‘Under the Sign of Scorpio’ Berlinale for their latest film Cesare deve Interview with Paolo Taviani morire (Ceasar Must Die, 2012), after a Alessandro Cecchi, long and successful film career. Their Maurizio Corbella collaboration with Ivens began in 1959 6 The Foundation update when they were still at the start of it. 9 Ivens in Museums (1) Ivens made only one film in Italy: L’Italia 10 By Camera and by Gun: non è un paese povero (Italy is Not a Poor Joris Ivens and the Radicalization of Country), but with the best of collabora- Latin American Filmmakers tors and an influence until today. Susan Martin-Márquez COLOPHON Staff European Foundation Joris Ivens André Stufkens, director 23 ‘A Shared Purpose…’, Europese Stichting Joris Ivens Anne Jaspers
    [Show full text]
  • Latin American Online Animation: General Overview of Its Contextual Conditions and Analysis of Its Formal Traits
    I Latin American Online Animation: General Overview of its Contextual Conditions and Analysis of its Formal Traits. Oslavia Danaé Linares Martínez A Thesis in The Mel Hoppenheim School of Cinema Presented in Partial Fulfillment of the Requirements for the Degree of Master of Arts (Film Studies) at Concordia University Montréal, Quebec, Canada August 2019 © Oslavia Danaé Linares Martínez, 2019 II CONCORDIA UNIVERSITY School of Graduate Studies This is to certify that the thesis prepared By: Oslavia Danaé Linares Martinez Entitled: Latin American Online Animation: General Overview of its Contextual Conditions and Analysis of its Formal Traits. and submitted in partial fulfillment of the requirements for the degree of Master of Arts (Film Studies) complies with the regulations of the University and meets the accepted standards with respect to originality and quality. Signed by the final Examining Committee: _______________________ Chair _______________________ Examiner Dr. Peter Rist _______________________ Examiner Dr. Fenwick McKelvey _______________________ Supervisor Dr. Marc Steinberg Approved by: ___________________________________________ Dr. Luca Caminati, Graduate Program Director _____________ 2019 ____________________________________ Rebecca Duclos, dean of Fine Arts III Abstract: Latin American Online Animation: General Overview of its Contextual Conditions and Analysis of its Formal Traits. Oslavia Danaé Linares Martínez The Latin American children of the late 1990s and 2000s grew up watching cartoons, just like those decades before; however, for the first time, many of these cartoons were being made by them. That was only the beginning… Benefiting from new digital animation technology and Internet availability as much as from a renewed sense of what cartoons were and for whom, online animation became one of the earliest and most popular forms of online media in Latin America and the world.
    [Show full text]