COMANDANTE COMANDANTE Dirigido Por/Directed by OLIVER STONE

Total Page:16

File Type:pdf, Size:1020Kb

COMANDANTE COMANDANTE Dirigido Por/Directed by OLIVER STONE COMANDANTE COMANDANTE Dirigido por/Directed by OLIVER STONE Productora/Production Company: MEDIAPRODUCCIÓN, S.L. Bruc, 111, bajos. 08009 Barcelona. Tel. 93 476 15 51. Fax 93 476 15 52. Con la participación de/with the participation of: Pentagrama Films, Morena Films. Director/Director: OLIVER STONE. Productor/Producer: OLIVER STONE. Productores ejecutivos/Executive Producers: JAUME ROURES, ÁLVARO LONGORIA, JOSÉ IBÁÑEZ. Productores asociados/Associate Producers: JUAN IBÁÑEZ, RAMÓN IBÁÑEZ, JUAN GORDON, RITA DAGHER. Director de producción/Line Producer: VINCENT JOLIET. Guión/Screenplay: ÁLVARO LONGORIA, OLIVER STONE, JOSÉ IBÁÑEZ. Argumento/Idea: Basado en una idea original de José Ibáñez y Álvaro Longoria. Directores de Fotografía/Photography: RODRIGO PRIETO, CARLOS MARCOVICH. Música/Score: ALBERTO IGLESIAS. Montadores/Editors: ÁLEX MÁRQUEZ, ELISA BONORA. Sonido/Sound: SANTIAGO NÚÑEZ. Efectos especiales/Special Effects: CARLA PAGI, CLARK MULLER. Efectos digitales/Visual Effects: POST-PRODUCCIÓN DIGITAL: LA LUNA DIGITAL. Supervisor post-producción: ALESSANDRA PASQUINO. Coordinadores post-producción: LAURE JOLIET, MARIAN FERNÁNDEZ. DOCUMENTAL/DOCUMENTARY 35 mm. Eastmancolor. Panorámico 1:1,66. Duración/Running time - Metraje/Metres: 98 minutos. 2.688 Web: www.comandante.net metros. Laboratorios/Laboratories: MADRID FILM LAB. Lugares de rodaje/Locations: Cuba. Fechas de rodaje/Shooting dates: 13/2/2002 - 15/4/2002. Estreno/Premiere: 6/6/2003 Distribución nacional/Spain Distribution: MUSIDORA FILMS, S.A. Princesa, 17. Madrid. Tel. 91 542 00 36. Fax 91 559 90 69. E- mail: [email protected] Ventas mundiales/World Sales: MEDIAPRODUCCIÓN, S.L. Bruc, 111, bajos. 08009 Barcelona. Tel. 93 476 15 51. Fax 93 476 15 52. OLIVER STONE/Filmografía/Filmography: Largometrajes/Feature films: 1981: LA MANO. 1986: PLATOON. SALVADOR. 1987: WALL STREET. 1988: HABLANDO CON LA MUERTE. 1989: NACIDO EL CUATRO DE JULIO. 1991: THE DOORS. JFK (CASO ABIERTO). 1993: EL CIELO Y LA TIERRA. 1994: ASESINOS NATOS. 1995: NIXON. 1997: U-TURN, GIRO AL INFIERNO. 1999: UN DOMINGO CUALQUIERA. 2003: COMANDANTE. Oliver Stone cambia una vez más de género para presentarnos un retrato de Fidel Castro, un hombre presente en el escenario internacional desde hace más de medio siglo. Después de tres días de rodaje, Stone nos ofrece - extraído de más de 30 horas de entrevistas y conversaciones- un retrato íntimo y humano del líder cubano. Compartiendo el riesgo con Castro, Stone se pone delante de la cámara y crea un clima cercano que favorece respuestas del líder cubano difíciles de obtener de otro modo, consiguiendo inéditas reflexiones sobre el estado de su gobierno, la actual situación política internacional y reveladores detalles de la historia del siglo XX. En conclusión, un sorprendente “cara a cara” que nos ayuda a comprender mejor cómo Cuba, pequeña antagonista de la mayor potencia mundial, ha sobrevivido íntegra durante más de cuatro décadas. Oliver Stone once again changes genre to bring us a portrait of Fidel Castro, a man who has been on the international scene for over half a century. After three days of filming, Stone has used extracts from over 30 hours of interviews and conversations to give us an intimate and humane portrait. Sharing the risk with Castro, Stone puts himself in front of the camera and creates an intimate atmosphere which © Ministerio de Cultura. Cine Español 2003 encourages the Cuban leader to give answers which would be difficult to obtain in any other way, collecting unprecedented thoughts on the state of his government, the present international political situation and revealing details of twentieth century history. All in all a surprising “face to face” which helps us to have a better understanding of how Cuba, the small antagonist of a major world power has survived whole for more than four decades. © Ministerio de Cultura. Cine Español 2003 © Ministerio de Cultura. Cine Español 2003 .
Recommended publications
  • Mongrel Media
    Mongrel Media Presents MIDNIGHT IN PARIS A Film by Woody Allen (94 min., USA, 2011) Distribution Publicity Bonne Smith 1028 Queen Street West Star PR Toronto, Ontario, Canada, M6J 1H6 Tel: 416-488-4436 Tel: 416-516-9775 Fax: 416-516-0651 Fax: 416-488-8438 E-mail: [email protected] E-mail: [email protected] www.mongrelmedia.com High res stills may be downloaded from http://www.mongrelmedia.com/press.html MIDNIGHT IN PARIS Starring (in alphabetical order) Gert KATHY BATES Salvador ADRIEN BRODY Museum Guide CARLA BRUNI Adriana MARION COTILLARD Inez RACHEL McADAMS Paul MICHAEL SHEEN Gil OWEN WILSON Co-starring (in alphabetical order) Carol NINA ARIANDA John KURT FULLER Mr. Fitzgerald TOM HIDDLESTON Helen MIMI KENNEDY Ms. Fitzgerald ALISON PILL Gabrielle LÉA SEYDOUX Ernest COREY STOLL Filmmakers Writer/Director WOODY ALLEN Producers LETTY ARONSON STEPHEN TENENBAUM JAUME ROURES Co-Producers HELEN ROBIN RAPHAËL BENOLIEL Executive Producer JAVIER MÉNDEZ Director of Photography DARIUS KHONDJI ASC, AFC Production Designer ANNE SEIBEL ADC Editor ALISA LEPSELTER Costume Designer SONIA GRANDE Casting JULIET TAYLOR PATRICIA DiCERTO STÉPHANE FOENKINOS 2 MIDNIGHT IN PARIS Synopsis This is a romantic comedy set in Paris about a family that goes there because of business, and two young people who are engaged to be married in the fall have experiences there that change their lives. It’s about a young man's great love for a city, Paris, and the illusion people have that a life different from theirs would be much better. It stars Owen Wilson, Rachel McAdams, Marion Cotillard, Kathy Bates, and Carla Bruni among others.
    [Show full text]
  • MAPPING DIGITAL MEDIA: SPAIN Mapping Digital Media: Spain
    COUNTRY REPORT MAPPING DIGITAL MEDIA: SPAIN Mapping Digital Media: Spain A REPORT BY THE OPEN SOCIETY FOUNDATIONS WRITTEN BY Carles Llorens (lead reporter) Virginia Luzón, Helena P. Grau (reporters) EDITED BY Marius Dragomir and Mark Thompson (Open Society Media Program editors) EDITORIAL COMMISSION Yuen-Ying Chan, Christian S. Nissen, Dusˇan Reljic´, Russell Southwood, Michael Starks, Damian Tambini The Editorial Commission is an advisory body. Its members are not responsible for the information or assessments contained in the Mapping Digital Media texts OPEN SOCIETY MEDIA PROGRAM TEAM Meijinder Kaur, program assistant; Morris Lipson, senior legal advisor; and Gordana Jankovic, director OPEN SOCIETY INFORMATION PROGRAM TEAM Vera Franz, senior program manager; Darius Cuplinskas, director 27 November 2012 Contents Mapping Digital Media ..................................................................................................................... 4 Executive Summary ........................................................................................................................... 6 Context ............................................................................................................................................. 10 Social Indicators ................................................................................................................................ 14 Economic Indicators ......................................................................................................................... 16 1.
    [Show full text]
  • A Film by Woody Allen Javier Bardem Patricia Clarkson Penélope Cruz
    A film by Woody Allen Javier Bardem Patricia Clarkson Penélope Cruz Kevin Dunn Rebecca Hall Scarlett Johansson Chris Messina Official Selection – 2008 Cannes Film Festival Release Date: 26 December 2008 Running Time: 96 mins Rated: TBC For more information contact Jillian Heggie at Hopscotch Films on 02 8303 3800 or at [email protected] VICKY CRISTINA BARCELONA Starring (in alphabetical order) Juan Antonio JAVIER BARDEM Judy Nash PATRICIA CLARKSON Maria Elena PENÉLOPE CRUZ Mark Nash KEVIN DUNN Vicky REBECCA HALL Cristina SCARLETT JOHANSSON Doug CHRIS MESSINA Co-Starring (in alphabetical order) ZAK ORTH CARRIE PRESTON PABLO SCHREIBER Filmmakers Writer/Director WOODY ALLEN Producers LETTY ARONSON GARETH WILEY STEPHEN TENENBAUM Co-Producers HELEN ROBIN Executive Producer JAUME ROURES Co-Executive Producers JACK ROLLINS CHARLES H. JOFFE JAVIER MÉNDEZ Director of Photography JAVIER AGUIRRESAROBE Production Designer ALAIN BAINÉE Editor ALISA LEPSELTER Costume Designer SONIA GRANDE Casting JULIET TAYLOR & PATRICIA DiCERTO Additional Spanish Casting PEP ARMENGOL & LUCI LENOX * * * 2 VICKY CRISTINA BARCELONA Synopsis Woody Allen’s breezy new romantic comedy is about two young American women and their amorous escapades in Barcelona, one of the most romantic cities in the world. Vicky (Rebecca Hall) and Cristina (Scarlett Johansson) are best friends, but have completely different attitudes towards love. Vicky is sensible and engaged to a respectable young man. Cristina is sexually and emotionally uninhibited, perpetually searching for a passion that will sweep her off her feet. When Judy (Patricia Clarkson) and Mark (Kevin Dunn), distant relatives of Vicky, offer to host them for a summer in Barcelona, the two of them eagerly accept: Vicky wants to spend her last months as a single woman doing research for her Masters, and Cristina is looking for a change of scenery to flee the psychic wreckage of her last breakup.
    [Show full text]
  • Hliebing Dissertation Revised 05092012 3
    Copyright by Hans-Martin Liebing 2012 The Dissertation Committee for Hans-Martin Liebing certifies that this is the approved version of the following dissertation: Transforming European Cinema : Transnational Filmmaking in the Era of Global Conglomerate Hollywood Committee: Thomas Schatz, Supervisor Hans-Bernhard Moeller Charles Ramírez Berg Joseph D. Straubhaar Howard Suber Transforming European Cinema : Transnational Filmmaking in the Era of Global Conglomerate Hollywood by Hans-Martin Liebing, M.A.; M.F.A. Dissertation Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin May 2012 Dedication In loving memory of Christa Liebing-Cornely and Martha and Robert Cornely Acknowledgements I would like to thank my committee members Tom Schatz, Charles Ramírez Berg, Joe Straubhaar, Bernd Moeller and Howard Suber for their generous support and inspiring insights during the dissertation writing process. Tom encouraged me to pursue this project and has supported it every step of the way. I can not thank him enough for making this journey exciting and memorable. Howard’s classes on Film Structure and Strategic Thinking at The University of California, Los Angeles, have shaped my perception of the entertainment industry, and having him on my committee has been a great privilege. Charles’ extensive knowledge about narrative strategies and Joe’s unparalleled global media expertise were invaluable for the writing of this dissertation. Bernd served as my guiding light in the complex European cinema arena and helped me keep perspective. I consider myself very fortunate for having such an accomplished and supportive group of individuals on my doctoral committee.
    [Show full text]
  • A Film by Woody Allen
    Persmap - Ampèrestraat 10 - 1221 GJ Hilversum - T: 035-6463046 - F: 035-6463040 - email: [email protected] A film by Woody Allen Spanje · 2008 · 35mm · color · 96 min. · Dolby Digital · 1:1.85 Vicky en Cristina zijn twee hartsvriendinnen met tegengestelde karakters. Vicky is de verstandige en verloofd met een degelijke jongeman, Cristina daarentegen laat zich leiden door haar gevoelens en is voortdurend op zoek naar nieuwe passies en seksuele ervaringen. Wanneer ze de kans krijgen om de zomer in Barcelona door te brengen, zijn ze allebei dolenthousiast : Vicky wil nog voor haar huwelijk een master behalen, terwijl Cristina na haar laatste liefdesperikelen behoefte heeft aan iets nieuws. Op een avond ontmoeten ze in een kunstgalerij een Spaanse schilder. Juan Antonio is knap, sensueel en verleidelijk en doet hen een nogal ongewoon voorstel… Maar deze nieuwe vriendschap valt niet in de smaak van Juan Antonio’s ex-vriendin. www.vickycristina-movie.com Officiële Selectie – 2008 Cannes Film Festival Genre: drama Release datum: 11 december 2008 Distributie: cinéart Meer informatie: Publiciteit & Marketing: cinéart Noor Pelser & Janneke De Jong Ampèrestraat 10, 1221 GJ Hilversum Tel: +31 (0)35 6463046 Email: [email protected], [email protected] Persmappen en foto’s staan op: www.cineart.nl Persrubriek inlog: cineart / wachtwoord: film - Ampèrestraat 10 - 1221 GJ Hilversum - T: 035-6463046 - F: 035-6463040 - email: [email protected] Starring (in alphabetical order) Juan Antonio JAVIER BARDEM Judy Nash PATRICIA CLARKSON Maria Elena PENÉLOPE CRUZ Mark Nash KEVIN DUNN Vicky REBECCA HALL Cristina SCARLETT JOHANSSON Doug CHRIS MESSINA Co-Starring (in alphabetical order) ZAK ORTH CARRIE PRESTON PABLO SCHREIBER Filmmakers Writer/Director WOODY ALLEN Producers LETTY ARONSON GARETH WILEY STEPHEN TENENBAUM Co-Producers HELEN ROBIN Executive Producer JAUME ROURES Co-Executive Producers JACK ROLLINS CHARLES H.
    [Show full text]
  • Make up & Hair Designer Costume Designer Film
    MAKE UP & HAIR DESIGNER COSTUME FILM PRODUCTION DESIGNER EDITOR DESIGNER LINE DIRECTOR EXECUTIVE PRODUCER OF PHOTOGRAPHY PRODUCERS CREW Directed by FERNANDO LEÓN DE ARANOA Produced by FERNANDO LEÓN DE ARANOA JAUME ROURES Executive producers PATRICIA DE MUNS JAVIER MÉNDEZ Written by FERNANDO LEÓN DE ARANOA with the collaboration of DIEGO FARIAS Based on the novel “Dejarse llover” by PAULA FARIAS Director of Photography ALEX CATALÁN A.E.C Line Producer LUIS FERNÁNDEZ LAGO Production Designer CÉSAR MACARRÓN Editor NACHO RUIZ CAPILLAS Original Music by ARNAU BATALLER Sound by IVÁN MARÍN DANIEL PEÑA ALFONSO RAPOSO Costume Designer FERNANDO GARCÍA Make- up and Hair Designer CAITLIN ACHESON AGATHE DUPUIS VFX FERRAN PIQUER SFX RAÚL ROMANILLOS Production Manager ANA PARRA First Assistant Director ANTONIO ORDÓÑEZ Casting Director Bosnia TIMKA GRAHI Casting Director Spain CAMILA-VALENTINE ISOLA, ICDN ACTORS MAMBRÚ BENICIO DEL TORO B TIM ROBBINS KATYA OLGA KURYLENKO SOPHIE MÉLANIE THIERRY DAMIR FEDJA STUKAN NIKOLA ELDAR RESIDOVIC GOYO SERGI LÓPEZ A PERFECT DAY 2 SYNOPSIS A group of aid workers tries to resolve a crisis in an armed conflict zone: Sophie (M. Thierry) is a newcomer, she wants to help; Mambrú (B. Del Toro) has seen it all and wants to go home; Katya (O. Kurylenko) once wanted Mambrú; Damir (F. Stukan) wants the war to end, and B (T. Robbins) doesn’t know what he wants. Humor, drama, emotion, routine, danger, hope: it all fits in a perfect day. A PERFECT DAY 3 DIRECTOR’S NOTES MEMOIRE This film is about the people charged with the difficult An open, glowing maze under the endless Balkan sky: task of bringing order to chaos.
    [Show full text]
  • Woody Allen's
    FOR IMMEDIATE RELEASE Press Contact: Bebe Lerner (323) 822-4800 Sheri Goldberg (646) 723-3800 WOODY ALLEN’S “YOU WILL MEET A TALL DARK STRANGER” ACQUIRED BY SONY PICTURES CLASSICS FOR NORTH AMERICAN THEATRICAL RIGHTS New York (March 3, 2010) – Woody Allen’s new film, “You Will Meet a Tall Dark Stranger,” has been acquired by Sony Pictures Classics for North American theatrical rights. The film stars Antonio Banderas, Josh Brolin, Anthony Hopkins, Freida Pinto and Naomi Watts. The company plans a fall release. Said Allen, “I love working with Michael Barker and Tom Bernard and I know my films are in good hands with them.” Sony Pictures Classics released Allen’s recent film, “Whatever Works,” last summer and “Sweet and Lowdown” in 1999. "It is a privilege and pleasure to be bringing this superb new Woody Allen film to the American audience,” said Sony Pictures Classics. “You Will Meet a Tall Dark Stranger” is produced by Letty Aronson, Steve Tenenbaum and Jaume Roures. It is financed by Mediapro, the Spain-based company which also funded “Vicky Cristina Barcelona.” The film was shot in London in August 2009. ABOUT SONY PICTURES CLASSICS Michael Barker and Tom Bernard serve as co-presidents of Sony Pictures Classics—an autonomous division of Sony Pictures Entertainment they founded with Marcie Bloom in January 1992, which distributes, produces, and acquires independent films from around the world. Barker and Bernard’s films are among the most prestigious films of all time. They have produced 24 Academy Award® winners (21 of those at Sony Pictures Classics) and have garnered over 100 Academy Award® nominations (85 at Sony Pictures Classics) including Best Picture nominations for AN EDUCATION, CAPOTE, HOWARDS END, AND CROUCHING TIGER, HIDDEN DRAGON.
    [Show full text]
  • Culture Versus Commerce New Strategies for The
    Culture versus Commerce New Strategies for the Internationalization of Catalan Cinema Submitted for the Degree of Doctor of Philosophy At the University of Northampton 2016 Maurici Jiménez © Maurici Jiménez, February 2016. This thesis is copyright material and no quotation from it may be published without proper acknowledgement. Abstract This thesis analyses the potential of Catalan cinema to become a national cinema as the current political climate, with a significant part of the population claiming a Catalan state, indicates the relevance of this examination. Catalan cinema is currently considered a regional cinema, however Catalonia has been defined as a nation with its own language and culture, and therefore Catalan cinema may come to reflect this reality. This work also considers the problems and possibilities for Catalan cinema to attain international impact. This thesis analyzes the distinctions between regional, national and international cinemas in the context of world cinemas and of the relationship between cultural identity and the economic demands of the industry. Some regional cinemas can be seen as national because of the cultural and historic social context in which they develop and this gives them the scope to become international in their own right. The thesis analyzes the policies and international agreements developed to protect the domestic industry against the economic imperatives of a global market, particularly in relation to the predominance of Hollywood films in the international film market and the measures — and theoretical approaches upon which they are based — that nation-states and the European Union undertake to protect their film production and to ensure that it reaches their own audiences, but also is distributed internationally.
    [Show full text]
  • Barcelona Film Commission, and Barcelona Tourism
    BARCELONA CONFERENCE GUIDE WWW.AFCI.ORG tableofcontents WELCOME TO BARCELONA AND TO THE 39TH ANNUAL AFCI CINEPOSIUM! 3 WELCOME & ACKNOWLEDGEMENTS 6 SCHEDULE-AT-A-GLANCE 8 PROGRAM SCHEDULE 15 SPEAKER BIOGRAPHIES 26 FAQ’S & TRAVEL INFORMATION 9595 Wilshire Blvd. Ste 900 Beverly Hills CA, 90212 www.afci.org Ph: 1.323.461.2324 Fax: 1.413.375.2903 [email protected] Kevin Clark, Executive Director, [email protected] Jerry Day, Director of Content, [email protected] Melanie Field, Events and Finance Manager, [email protected] Kathy Martini, Membership & Administration Manager, [email protected] Peter Trimarco, Publisher, Beyond Cinema Magazine, [email protected] Justin O. Cooper, Marketing, PR, Social Media, [email protected] Jeremiah Karr, Creative Design, [email protected] Luann Alesio, Sponsorship Sales, [email protected] 02 TABLE OF CONTENTS welcome Dear Colleagues, On behalf of the Association of Film Commissioners International (AFCI), it is with great pleasure that I welcome you to Cineposium 2015 in Barcelona, Spain. For the first-time in Cineposium’s 39- year history, this year’s conference is exclusively dedicated to one topic: Film Tourism! We are excited that our host city, Barcelona will serve as the backdrop to Cineposium for the next three days. Barcelona is a world leading cultural tourist center, former host to the 1992 Olympics and the third most visited city in Europe. This year we’ve invited our AFCI Members and their tourism bureau counterparts to participate in our Film Tourism conversation. We’ve organized an array of engaging program sessions that will provide insight on the added value of Film Tourism and its impact on global economies.
    [Show full text]
  • MIDDLEBROW CINEMA Salvador (Puig Antich) and the Search for a New Consensus
    9 RADICAL POLITICS, MIDDLEBROW CINEMA Salvador (Puig Antich) and the search for a new consensus Belén Vidal This chapter investigates the place of radical politics as part of an imaginary of the past absorbed and repurposed by a contemporary middlebrow cinema. Radical politics is an inherently international theme shaped by local histories. The trope of student protest and youth subcultures in the so-called ‘long sixties’ and their radi- calization into the armed underground activism of the 1970s (Suri 2013, 105–8) reflect a history of dissent that is transnational and cosmopolitan in character and, at the same time, reverts into specific national narratives built on traumatic legacies of political violence. European films centred on historical figures engaged in radical action (e.g. Der Baader Meinhof Komplex / The Baader Meinhof Complex [Edel 2008]) or, alternatively, on fictional accounts of young adults’ experience of political (dis-) engagement (such as Mio fratello è figlio unico / My Brother is an Only Child [Luchetti 2007]) revisit the post-May ’68 moment as a formative period for political iden- tities through the popular memory of this era, channelled through the personal experience of political awakening. My main case study, Salvador (Puig Antich) directed by Manuel Huerga (2006), sits at the confluence of the above two trends. A biopic of the young anarchist who became the last political prisoner to be executed by the Spanish state under the dictatorship of General Francisco Franco in 1974, Salvador is a significant yet understudied example of the retrieval of the memory of the period of the transition to democracy in contemporary Spanish cultural production.1 In the context of the ongoing debates about the status of historical memory in democratic Spain, the film emerges as an important – if contested – example of ‘counter-heritage’ film (see Will Higbee in this volume), confronting its audience with the brutality of repres- sion in the late years of the dictatorship, especially through its representation of capital punishment.
    [Show full text]
  • El Oligopolio Catalán En Los Medios De Comunicación Españoles: Un Estudio Longitudinal
    El oligopolio catalán en los medios de comunicación españoles: un estudio longitudinal Juan Luis LÓPEZ-GALIACHO* Recibido: 30 Marzo 2010 Aceptado: 31 Marzo 2010 Evaluado: 10 Mayo 2010 Aprobado: 22 Mayo 2010 (Abstracts y palabras clave al final del artículo) INTRODUCCIÓN Con el presente trabajo pretendemos poner al día una investigación que comen- zamos en el año 1998, y que hemos ido actualizando hasta hoy. Dedicamos nuestra Tesis Doctoral a mostrar El oligopolio catalán en los medios de comunicación espa- ñoles (López-Galiacho, 2000). Desde entonces, ha cambiado mucho el panorama político y mediático español, el oligopolio ha ido in crescendo, hasta convertirse en un fenómeno que no tiene parangón en ningún país del Primer Mundo. Por eso, este trabajo tiene el carácter de estudio longitudinal, que consiste en evaluar una carac- terística de un determinado grupo de personas a lo largo del tiempo y permiten obte- ner información sobre esa característica a lo largo del tiempo. Hemos elaborado un esquema explicativo de las circunstancias y condiciones que han rodeado este fenómeno único. La estructura de poder de los productores y periodistas catalanes se ha consolidado y afianzado, de manera sistemática, dando lugar a un conjunto compacto y expansivo cuyo fin es acaparar estructuras de comu- nicación orientadas y dirigidas —esencialmente— a desinformar acerca de lo polí- tico, económico y socialmente relevante; por otra parte, a informar sobre cuestiones baladíes y triviales que den la impresión,.—sólo la impresión— de que actúan y refuerzan un sistema aparentemente —sólo en apariencia— democrático. El Diccionario de la Real Academia Española define el concepto de oligopolio como: “Aprovechamiento de alguna industria o comercio por un reducido número de empresas” (1992, Tomo II, p.
    [Show full text]
  • Conferència De Jaume Roures Al Centre De Lectura
    Agenda | Redacció | Actualitzat el 01/12/2019 a les 19:08 Conferència de Jaume Roures al Centre de Lectura, aquest dilluns Aquest dilluns, 2 de desembre, a les 8 del vespre, a la sala d’actes del Centre de Lectura tindrà lloc la conferència de l’empresari i productor cinematogràfic Jaume Roures, sota títol ’25 anys de Mediapro’. L’acte s’inclou al programa de les novenes Jornades de Comunicació de Reus. Jaume Roures va néixer a Barcelona, l'any 1950. Durant la seva joventut fou un actiu militant trotskista, afiliat els primers anys setanta a la Lliga Comunista Revolucionària, i fou empresonat diverses vegades. Exercí com a periodista per a l’agència de notícies britànica Visnews. Incorporat a la naixent Televisió de Catalunya, des del 1983 en fou cap del departament de notícies i des del 1986 de produccions esportives. Ha estat també responsable d’operacions especials de la FORTA (Federació d’Organismes de Ràdio i Televisió Autonòmiques). El 1991 passà a ocupar el càrrec de cap del departament de televisió de Dorna Sports, empresa organitzadora del Campionat del Món de motociclisme. El 1994, amb altres antics quadres de TVC com ara Josep Maria Tatxo Benet, fundà Mediapro, grup empresarial dedicat a la creació, producció, retransmissió i comercialització de productes audiovisuals, format per una trentena d’empreses, del qual és accionista majoritari i president. A través de Mediapro fundà el diari Público (2007), produí diverses pel·lícules, entre d’altres ‘Comandante’ (2003), d’Oliver Stone, ‘Salvador’ (2005), de Manuel Huerga i ‘Vicky Cristina Barcelona’ (2009) de Woody Allen, a més de diversos documentals de temàtica política com ara ‘Las cloacas de Interior’ (2017) i ‘20-S’ (2018).
    [Show full text]