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The Arrival of the First Film Sound Systems in Spain (1895-1929)
Journal of Sound, Silence, Image and Technology 27 Issue 1 | December 2018 | 27-41 ISSN 2604-451X The arrival of the first film sound systems in Spain (1895-1929) Lidia López Gómez Universitat Autònoma de Barcelona [email protected] Date received: 10-01-2018 Date of acceptance: 31-03-2018 PALABRAS CLAVE: CINE MUDO | SONIDO | RecepcIÓN | KINETÓFONO | CHRONOPHONE | PHONOFILM KEY WORDS: SILENT FILM | SOUND | RecepTION | KINETOPHONE | CHRONOPHONE | PHONOFILM Journal of Sound, Silence, Image and Technology | Issue 1 | December 2018. 28 The arrival of the first film sound systems in spain (1895-1929) ABSTracT During the final decade of the 19th century, inventors such as Thomas A. Edison and the Lumière brothers worked assiduously to find a way to preserve and reproduce sound and images. The numerous inventions conceived in this period such as the Kinetophone, the Vitascope and the Cinematograph are testament to this and are nowadays consid- ered the forerunners of cinema. Most of these new technologies were presented at public screenings which generated a high level of interest. They attracted people from all social classes, who packed out the halls, theatres and hotels where they were held. This paper presents a review of the newspa- per and magazine articles published in Spain at the turn of the century in order to study the social reception of the first film equip- ment in the country, as well as to understand the role of music in relation to the images at these events and how the first film systems dealt with sound. Journal of Sound, Silence, Image and Technology | Issue 1 | December 2018. -
Tesis Los Orígenes De La Canción Popular En El Cine Mudo
UNIVERSIDAD COMPLUTENSE DE MADRID FACULTAD DE CIENCIAS DE LA INFORMACIÓN Departamento de Comunicación Audiovisual y Publicidad I TESIS DOCTORAL Los orígenes de la canción popular en el cine mudo español, (1896-1932) MEMORIA PARA OPTAR AL GRADO DE DOCTOR PRESENTADA POR Benito Martínez Vicente Director Emilio Carlos García Fernández Madrid, 2012 © Benito Martínez Vicente, 2012 UNIVERSIDAD COMPLUTENSE DE MADRID FACULTAD DE CIENCIAS DE LA INFORMACIÓN Departamento de Comunicación Audiovisual y Publicidad I LOS ORÍGENES DE LA CANCIÓN POPULAR EN EL CINE MUDO ESPAÑOL (1896-1932) Tesis Doctoral Benito Martínez Vicente Director Dr. Emilio Carlos García Fernández Madrid, 2011 Los Orígenes de la Canción Popular en el Cine Mudo Español (1896-1932) 2 Los Orígenes de la Canción Popular en el Cine Mudo Español (1896-1932) UNIVERSIDAD COMPLUTENSE DE MADRID FACULTAD DE CIENCIAS DE LA INFORMACIÓN DEPARTAMENTO DE COMUNICACIÓN AUDIOVISUAL Y PUBLICIDAD I LOS ORÍGENES DE LA CANCIÓN POPULAR EN EL CINE MUDO ESPAÑOL (1896-1932) Tesis Doctoral Benito Martínez Vicente Director Dr. Emilio Carlos García Fernández Madrid, 2011 3 Los Orígenes de la Canción Popular en el Cine Mudo Español (1896-1932) 4 Los Orígenes de la Canción Popular en el Cine Mudo Español (1896-1932) ¡RESPETABLE PÚBLICO! Señores: no alborotéis Aunque á oscuras os quedéis, Que á oscuras no se está mal Y si esperáis hasta el final, ¡ya veréis!... 1 1 Berriatúa, Luciano. “ Los primeros años del cine en las zarzuelas ”. Lahoz Rodrigo, Juan Ignacio (coord.). A propósito de Cuesta. Escritos sobre los comienzos del cine español 1896-1920. Ediciones de la Filmoteca. Institut Valencià de l’Audiovisual i la Cinematografia Ricardo Muñoz Suay. -
N E W S L E T T E R Section's Homepage
January 2010 Section on Rare Books and Manuscripts N e w s l e t t e r Section's Homepage: http://www.ifla.org/VII/s18/index.htm Contents People 2 From the Editors 3 IFLA 75th General Conference and Council in Milan 2009 4 From the Libraries 6 Exhibitions 11 Events and conferences 21 Projects 25 Publications 33 Web news 38 Cooperation 40 People Chair: Raphaële Mouren Université de Lyon / ENSSIB 17-21, Boulevard du 11 Novembre 1918 69623 VILLEURBANNE, France Tel. +(33)(0)472444343 Fax +(33)(0)472444344 E-mail: [email protected] Short presentation of myself: As an associate professor at the École nationale supérieure des sciences de l’information et des bibliothèques (enssib), where I am currently teaching to future librarians and students in specialized masters (Cultures de l’écrit et de l’image, Livre et savoir), I am specialized in the history of the book and history of greek and latin philology in early modern Europe. I was executive director in the bibliothèque Méjanes in Aix-en-Provence and head of the manuscripts and rare books department in Bibliothèque-Carré d’Art in Nîmes. I am the author of the Manuel du patrimoine en bibliothèque, published in 2007. Secretary and Treasurer: Anne Eidsfeldt The National Library of Norway Post Box 2674 Solli OSLO, NO-0203 Norway Tel. +(47)(23)276095 Fax +(47)(75)121222 E-mail: [email protected] Short presentation of myself: I have been a member of the IFLA Rare Books and Manuscript Section since 2007. In 2009 I was elected as Secretary and Treasurer for the section for a period of two years. -
La Llegada De Los Primeros Sistemas Cinematográficos Sonoros a España (1895 - 1929)
Journal of Sound, Silence, Image and Technology 27 Número 1 | Desembre 2018 | 27-41 ISSN 2604-451X La llegada de los primeros sistemas cinematográficos sonoros a España (1895 - 1929) Lidia López Gómez Universidad Autónoma de Barcelona [email protected] Data de recepció: 10-01-2018 Data d’acceptació: 31-03-2018 PALABRAS CLAVE: CINE MUDO | SONIDO | RecepcIÓN | KINETÓFONO | CRONÓFONO | FONOFILM KEY WORDS: SILENT FILM | SOUND | RecepTION | KINETOPHONE | CHRONOPHONE | PHONOFILM Journal of Sound, Silence, Image and Technology | Número 1 | Desembre 2018 28 La llegada de los primeros sistemas cinematográficos sonoros a España (1895 - 1929) RESUMEN ABSTracT Durante la última década del siglo XIX, During the final decade of the 19th century, inventores y creadores como Thomas A. inventors such as Thomas A. Edison and the Edison o los hermanos Lumière trabajaban Lumière brothers worked assiduously to find arduamente con el fin de fijar y reproducir el a way to preserve and reproduce sound and sonido y las imágenes. Evidencia de ello son images. The numerous inventions conceived los numerosos inventos que se crearon in this period such as the Kinetophone, the durante esos años, y que actualmente se Vitascope and the Cinematograph are consideran los precursores del cine, como lo testament to this and are nowadays consid- fueron el Kinetófono, el Vitascopio o el ered the forerunners of cinema. Most of Cinematógrafo. La mayoría de estas these new technologies were presented at novedades tecnológicas eran presentadas public screenings which generated a high en exhibiciones que generaban una gran level of interest. They attracted people from expectativa, y atraían a público de todas las all social classes, who packed out the halls, clases sociales, que abarrotaba las salas, theatres and hotels where they were held. -
Journal of Sound, Silence, Image and Technology December 2018 | Issue 0 | Edited by the Research Group Sound, Silence, Image and Technology
JoSSIT Journal of Sound, Silence, Image and Technology December 2018 | Issue 0 | Edited by the research group Sound, Silence, Image and Technology Sound Transit P7 Transformation and Charlot, a change processes in cinematic opera the Audiovisual P17 Software tools for musical performance P27 The first film sound systems in Spain P43 Plastic Hits P53 The sound engineer at the beginning of Spanish film industry P65 ‘Who Can Kill a Child?’ The scientific publication the Journal of Sound, Silence, Image and Technology (JoSSIT) grew out of the research group of the same name (SSIT), which is linked to the TecnoCampus centre as part of Pompeu Fabra University (UPF). The journal seeks to bring together academic debate and scientific research on the relation of sound as a broad concept with an audiovisual context. Issue 1 | December 2018 ISSN 2604-451X Coordination of Issue 1 “Sound Transit”: Dr. Daniel Torras i Segura Dr. Jordi Roquer Gonzàlez Editorial Team Editor: Dr. Daniel Torras i Segura Director: Dr. Jordi Roquer Gonzàlez Secretària Editorial: Anna Gabriel i Rovira Editorial Board Dr. Jordi Soler i Alomà MBA. Mauricio Rey MBA. Santos Martínez Trabal MBA. Anna Tarragó Scientific Editorial Board PhD. Philip Tagg, University of Salford PhD. Michel Chion, Université de Paris III Sorbonne Nouvelle PhD. Nicholas Cook, Cambridge University PhD. Nessa Johnston, EdgeHill University Dra. Teresa Fraile, Universidad Complutense de Madrid Dr. Josep Lluís i Falcó, Universitat de Barcelona Dr. Manuel Garín, Universitat Pompeu Fabra Dra. Matilde Olarte, Universidad de Salamanca Dra. Lídia López, Universitat Autònoma de Barcelona Dra. Encarnació Soler i Alomà, Cinema Rescat Dr. Jaume Radigales, Universitat Ramon Llull Dr. -
Cinema Comparat/Ive Cinema
CINEMA COMPARAT/IVE CINEMA VOLUME V · Nº10 · 2017 THE STAR SYSTEM IN EUROPE: STAR STUDIES TODAY Editors: Gonzalo de Lucas (Universitat Pompeu Fabra) and Albert Elduque (University of Reading). Associate Editors: Núria Bou (Universitat Pompeu Fabra) and Xavier Pérez (Universitat Pompeu Fabra). Advisory Board: Dudley Andrew (Yale University, United States), Jordi Balló (Universitat Pompeu Fabra, Spain), Raymond Bellour (Université Sorbonne-Paris III, France), Francisco Javier Benavente (Universitat Pompeu Fabra), Nicole Brenez (Université Paris 1-Panthéon-Sorbonne, France), Maeve Connolly (Dun Laoghaire Institut of Art, Design and Technology, Irleland), Thomas Elsaesser (University of Amsterdam, Netherlands), Gino Frezza (Università de Salerno, Italy), Chris Fujiwara (Edinburgh International Film Festival, United Kingdom), Jane Gaines (Columbia University, United States), Haden Guest (Harvard University, United States), Tom Gunning (University of Chicago, United States), John MacKay (Yale University, United States), Adrian Martin (Monash University, Australia), Cezar Migliorin (Universidade Federal Fluminense, Brasil), Alejandro Montiel (Universitat de València), Meaghan Morris (University of Sidney, Australia and Lignan University, Hong Kong), Raffaelle Pinto (Universitat de Barcelona), Ivan Pintor (Universitat Pompeu Fabra), Àngel Quintana (Universitat de Girona, Spain), Joan Ramon Resina (Stanford University, United States), Eduardo A.Russo (Universidad Nacional de La Plata, Argentina), Glòria Salvadó (Universitat Pompeu Fabra), Yuri Tsivian (University of Chicago, United States), Vicente Sánchez Biosca (Universitat de València, Spain), Jenaro Talens (Université de Genève, Switzerland and Universitat de València, Spain), Michael Witt (Roehampton University, United Kingdom). Contributors: María Adell, Vicente J. Benet, Marga Carnicé Mur, Fernando Ganzo, Rebecca Anne Peters, Fang Qi, Martin Shingler. Translators: Michael Bunn, Anna Rosenberg, Martin Boyd, Fernando Ganzo, Robert Prieto, Albert Elduque, Anna Piñol. -
Arnold Umn 0130E 13988.Pdf
Saudade, Duende, and Feedback: The Hybrid Voices of Twenty-First-Century Neoflamenco and Neofado A DISSERTATION SUBMITTED TO THE FACULTY OF UNIVERSITY OF MINNESOTA BY Michael Davis Arnold IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY Dr. Ofelia Ferrán and Dr. Fernando Arenas June 2013 © Michael Davis Arnold 2013 Acknowledgements This study could not have been accomplished without the generous assistance of Fernando Arenas, Ofelia Ferrán, Matthew Rahaim, Ana Paula Ferreira, Raúl Marrero- Fente, Michelle Hamilton, Hector Fouce, Rui Vieira Nery, María del Rocío Herrera Alonso, Henrique Amaro, Sandra Baptista, Julian Demoraga & Diego “el Kinki”, Anabela Duarte, Miguel Filipe, África Gallego, Paulo Pedro Gonçalves, Pedro Gonçalves, Marco Miranda, Marta Miranda, Viviane Parra, Jorge Pires, Nathalie García Ramos, Elsa Rovayo, Ana Saboya, Sara Simões, Tó Trips, Luís Varatojo, Tó Viegas, Ehsan Alam, Natasha Hassett, Molly Lopresti, Edu Rodriguez, Daniel Arbino, Wayne and Julane Severson, Vincent and Ann Arnold, Alan and Lisa Danhof Arnold, and Laura Severson. i Dedication This thesis is dedicated to my corazón, Laura Severson, and in loving memory of my sister, Jessica Marie Arnold. ii Abstract The focus of this comparative, pan-Iberian study is on the negotiation of identity and hybrid cultural production in early twenty-first-century Spain and Portugal. I identify here two subgenres of indie and electronic music scenes and analyze how the handful of musicians that comprise these burgeoning movements are fighting to keep their respective national cultural traditions alive in the face of iTunes, mp3s, and P2P filesharing that have universalized a certain form of pop music which cuts across languages and cultures. -
“Fútbol, Amor Y Toros”, La Primera Película Sonora Española De La Historia
Cuadernos de Fútbol Revista de CIHEFE https://www.cihefe.es/cuadernosdefutbol “Fútbol, amor y toros”, la primera película sonora española de la historia. Autor: Luis Javier Bravo Mayor Cuadernos de fútbol, nº 83, enero 2017. ISSN: 1989-6379 Fecha de recepción: 05-12-2016, Fecha de aceptación: 17-12-2016. URL: https://www.cihefe.es/cuadernosdefutbol/2017/01/futbol-amor-y-toros-la-primera-pelicula- sonora-espanola-de-la-historia/ Resumen Investigación que saca a la luz la primera película sonora del cine español, cuyo argumento se centra además en el mundo del fútbol y los toros, y de cuya fecha de estreno se cumplen 75 años precisamente este mes. Palabras clave: cine, España, Florián Rey, futbol, historia, película sonoratoros Abstract Keywords:Cinema, Sound Film, Spain, Football, History, Bullfighting, Florián Rey Investigation that brings to light the first Spanish sound film, with a plot based on the topics of football and bullfighting, that was screened precisely on the month of January 75 years ago. Date : 1 enero 2017 1 / 44 Cuadernos de Fútbol Revista de CIHEFE https://www.cihefe.es/cuadernosdefutbol 2 / 44 Cuadernos de Fútbol Revista de CIHEFE https://www.cihefe.es/cuadernosdefutbol Índice: Los inicios. Cuando comenzó el cine sonoro. Primera película proyectada en España. La primera producción española. Los rodajes de “Fútbol, amor y toros” y “El misterio de la Puerta del Sol”. El estreno. Curiosos anuncios publicitarios del estreno de “Fútbol, amor y toros”. 3 / 44 Cuadernos de Fútbol Revista de CIHEFE https://www.cihefe.es/cuadernosdefutbol La crítica. Opiniones de los entendidos en cine de la época. -
Popular Music and Public Diplomacy
Mario Dunkel, Sina A. Nitzsche (eds.) Popular Music and Public Diplomacy Popular Music Mario Dunkel, Sina A. Nitzsche (eds.) Popular Music and Public Diplomacy Transnational and Transdisciplinary Perspectives An electronic version of this book is freely available, thanks to the support of libraries working with Knowledge Unlatched. KU is a collaborative initiative designed to make high quality books Open Access for the public good. The Open Access ISBN for this book is 978-3-8394-4358-3. More information about the initiative and links to the Open Access version can be found at www.knowledgeunlatched.org. Bibliographic information published by the Deutsche Nationalbibliothek The Deutsche Nationalbibliothek lists this publication in the Deutsche Nationalbiblio- grafie; detailed bibliographic data are available in the Internet at http://dnb.d-nb.de This work is licensed under the Creative Commons Attribution-NonCommercial-No- Derivatives 4.0 (BY-NC-ND) which means that the text may be used for non-commer- cial purposes, provided credit is given to the author. For details go to http://creativecommons.org/licenses/by-nc-nd/4.0/ To create an adaptation, translation, or derivative of the original work and for commer- cial use, further permission is required and can be obtained by contacting rights@ transcript-verlag.de Creative Commons license terms for re-use do not apply to any content (such as graphs, figures, photos, excerpts, etc.) not original to the Open Access publication and further permission may be required from the rights holder. The obligation to research and clear permission lies solely with the party re-using the material. -
Feministas Unidas, Inc. Newsletter Fall 2016 Volume 36.2 FEMINISTAS UNIDAS, INC
Marie Louise Élisabeth Vigée-Lebrun; Vigée-Le Brun. Self-portrait. 1790 Feministas Unidas, Inc. Newsletter Fall 2016 Volume 36.2 FEMINISTAS UNIDAS, INC. NEWSLETTER FALL 2016 VOL. 36. 2. Table of Contents MESSAGE FROM THE EDITOR .............................................................................................................. 3 MESSAGE FROM THE PRESIDENT AND VICEPRESIDENT ...................................................................... 4 MESSAGE FROM THE BOOK REVIEW EDITOR ....................................................................................... 6 14TH ANNUAL FEMINISTAS UNIDAS ESSAY PRIZE COMPETITION FOR GRADUATE STUDENTS 2017 ... 7 FOCUS ON THE PROFESSION: “ENTREVISTA A JUAN ANTONIO ALVAREZ REYES, DIRECTOR DEL CENTRO ANDALUZ DE ARTE CONTEMPORÁNEO” POR MARÍA ALEJANDRA ZANETTA. ........................... 9 BOOK REVIEWS .................................................................................................................................. 14 DEBRA BLAKE ........................................................................................................................................ 14 FACIO, ELISA AND IRENE LARA, EDS. FLESHING THE SPIRIT: SPIRITUALITY AND ACTIVISM IN CHICANA, LATINA, AND INDIGENOUS WOMEN’S LIVES. TUCSON: THE U OF ARIZONA P, 2014. 272 PP. .............................................. 14 ANA FERNÁNDEZ ................................................................................................................................... 17 FERNÁNDEZ, PURA, ED. NO HAY NACIÓN PARA -
LA MÚSICA EN EL LENGUAJE AUDIOVISUAL Aproximaciones Multidisciplinares a Una Comunicación Mediática
LA MÚSICA EN EL LENGUAJE AUDIOVISUAL Aproximaciones multidisciplinares a una comunicación mediática Teresa Fraile C Eduardo Viñuela (Eds.) FRAILE, Teresa; VIÑUELA, Eduardo (eds.). LA MÚSICA EN EL LENGUAJE AUDIOVISUAL: APROXIMACIONES MultiDISCIPLINARES A UNA COMUNICACIÓN MEDIÁTICA Arcibel Editores © La música en el lenguaje audiovisual: aproximaciones multidisciplinares a una comu- nicación mediática Teresa Fraile, Eduardo Viñuela (eds.) © 2012, de los autores (Este libro reproduce fielmente el archivo proporcionado por los autores) © 2012, ArCiBel Editores s.l. Todos los derechos reservados ISBN: 978-84-15335-24-5 www.arcibel.es [email protected] Impresión Publidisa - España Deposito legal: SE-2842-2012 ÍNDICE Prólogo......................................................................................................9 1. Música y cine en España: reconstruyendo nuestra historia Singin’ in Spain. Música y músicos en el Hollywood multilingüe (1929-1934). Julio Arce........................................................15 Entre el casticismo y el sinfonismo: música cinematográfica en la España de los años centrales del siglo XX. Joaquín López González.....................................41 ¿Melodías prohibidas?: El jazz en el cine del primer franquismo (1939-1945). Iván Iglesias....................................................61 La banda sonora musical de Ernesto Halffter para Viaje romántico a Granada (1955). Leopoldo Neri de Caso...................75 La música de Antón García Abril y las adaptaciones de literatura española en los