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Descargar Libro En Reseñas de películas para Adultos Las reseñas y críticas aquí clasificadas han sido consideradas por nuestros expertos como aptas para Adultos ya que contienen escenas que requieren una madurez y una formación previa para su valoración; algunas más que otras promueven una serie de valores humanos y artísticos que pueden enriquecer a la persona. Los comentarios no sólo profundizan en los aspectos técnicos y formales, sino que también te ofrecerán los aspectos éticos y morales de su contenido Autor: | Editorial: Hoy día el cine es un medio irrenunciable para la evangelización, asegura el cardenal Paul Poupard, presidente del Consejo Pontificio de la Cultura. El cine es un vehículo irrenunciable para hacer cultura, y en la Iglesia, para evangelizar. «Espero que el cine sepa construir una cultura auténtica de la vida y de la dignidad de la persona» --deseó-- así como «una civilización del respeto mutuo y de la convivencia entre culturas», afirmó. «Tengo una confianza plena en que los que operan en el mundo del cine sabrán responder a esta petición de un suplemento de esperanza», dijo el purpurado al finalizar su alocución. 1 2046 **** 1 Un toque de canela **** 1 Matar al ángel *** 1 Toque de rosas * 2 De Lovely *** 2 Padre e hijos **** 3 Alejandro Magno -* 3 Obsesión ** 3 Marie-Jo y sus dos amores *** 4 Melinda y Melinda ** 4 Tiempo de tormenta **** 5 El puente de san Luis Rey ** 5 Tiempos felices (Happy Times) ** 6 Conversaciones con mamá * 7 La ventana de enfrente ** 7 Caminar sobre las aguas ** 8 La importancia de llamarse Ernesto *** 8 Mar Adentro * 9 Catorce días de vida 9 Carta de una madre a su hijo abortado 11 El lapiz del carpintero * 12 Lutero (Luther) *** 12 El aviador ** 12 Camarón -* 14 Los novios búlgaros 1/19 2046 **** Autor de la reseñaFelipe Santos Dirección: Wong Kar-Wai. Guión: El mismo. Fotografía: Christopher Doyle, Lai Yiu Fai, Hwan Pun Leung. Música: P. Raben, S. Umebayashi. Intérpretes: Tony Leung, Gong Li, Himura Tahuya, Faye Wong, Zhang Ziyi, Carina Lau, Chang Chen, Wang Sum, Siu Ping Lam. No cabe duda de que este autor chino sigue triunfando en todo el mundo con su buena factura cinematográfica. Se le llama autor porque, tras ocho films, ha logrado tener un estilo personal. Su universo filmográfico se aparta poco de la raíz y esencia misma de la vida por la temática que trata en cada una de sus obras. Toda ella gira en torno al amor, la soledad y la carga de emociones que encierra el ser humano. Raro es el espectador que ante estos temas no se sienta interpelado y goce mucho con la visión de estas magnífica películas, premiadas algunas de ellas, en diversos festivales. 2046 es una habitación de una pensión-hotel en la que uno se sumerge poco a poco atraído por la historia de amor que en ella se narra. Entre puerta y puerta, periódico y periódico, farolas y canciones bellísimas, el autor nos va llevando paulatinamente a una reflexión concisa, profunda y llena de estética al mundo del amor de ahora y futuro. Si además, cuenta con fotógrafos de una aplastante belleza en sus tomas, y con una cámara cuyas angulaciones presentan el perfil exacto de cada personaje, se va uno dando cuenta de que todo es pulcritud, precisión y exactitud en todo cuanto cuenta. Son poetas de la imagen. Y esta poesía es la que suscita un torrente de emociones y de entusiasmo en los buenos cinéfilos. El centro de la historia es la de un hombre abandonado que, en su situación personal, se trasporta a un futuro incierto buscando salir de su soledad en este universo en el que sino hay amor, todo se viene abajo. En realidad, la narración pulcra va ofreciendo diversas historias de amor: unas son misteriosas, otras fatídicas, desgraciadas y, en ciertos instantes, con una sexualidad un tanto degradante. Pero la gran lucha del hombre se basa en el encuentro del amor brillante, limpio y fiel. Digna de verse. * ¿Qué opinas sobre el tema? Comparte tu opinión. * Si te gustó el texto y quieres comentarlo con su autor da un click aquí Un toque de canela **** Dirección: Tassos Boulmetis. Guión: El mismo. Fotografía: Takis Zervoulakos. Música: Evanthia Reboutsika. Intérpretes: Georges Corraface, Ierolis Michaelidis, Renia Louizidou, Stelios Mainas, Tamer Karadagli, Pasak Köklükaya, Tassos Bandis, Markos Osse. Cuando se ve mucho cine y se encuentra uno con una obra como esta griega, la sorpresa asoma en seguida a nuestra mente ya nuestros ojos. A nuestra mente porque toda ella es un conjunto de valores humanos que difícilmente se ven en la pantalla de nuestros días. 2/19 Es una gozada asistir y contemplar los problemas de la comunidad griega que vive en Turquía por los años sesenta en condiciones tales que nunca le han hecho perder sus tradiciones ni sus valores ancestrales. A medida que van pasando los planos , escenas y secuencias ante la mirada, la inteligencia del realizador queda plasmada en todos los frescos de la comida, rituales, sabores, colores, precisión y dosificación del ritmo y del atractivo de esta obra que, sin dudas, deja contentos a todos. No es fácil ver en películas a actores y actrices tan bien definidos, aunque sean secundarios. Es mérito de un guión tan perfecto que no descuida absolutamente nada de cuanto tenga valor ante la cámara que, con agilidad una veces y parsimonia otras, va presentando la vida humana de una forma conmovedora y sincera. Este cine es una bocanada de frescura, de magia y de talento, cualidades que no suelen admirarse mucho en tantos productos y subproductos del cinema actual. Es una invitación, pues, a que todo el que guste del buen cine, no deje de acercarse a presenciar esta obra griega, realizada con casi la misma dignidad y perfección que los clásicos antiguos. * ¿Qué opinas sobre el tema? Comparte tu opinión. * Si te gustó el texto y quieres comentarlo con su autor da un click aquí Matar al ángel *** Autor de la reseña: P. Felipe Santos SDB Dirección: Daniel Múgica. Guión: El mismo. Intérpretes: Miguel Hermoso, Yael Barnatan, Antonio Dechent, Daniel Freire, Beatriz Bergamín, Juan G Martínez, Carmen Navarro, Mario Zorrilla, Txema Blasco. Otro debutante en los estrenos de esta semana. En este caso se trata de Daniel Múgica, hijo del defensor del pueblo español. No parece que sea su primera película. Se le nota que ha asimilado todo el fondo de la historia que nos cuenta y, ayudado por buenos intérpretes y un guión digno- escrito por él mismo- nos presenta la realidad de hace años con visos de actualidad: los grupos nazis. El guión se centra en un principio en un juez judío, objetivo del terror nazi porque le ha abierto un sumario a un señor muy importante de la trama de este brillante thriller. Todo se le viene abajo, sin embargo, porque su hermano se convierte en el defensor indómito de su hija Yael. Desde este instante, la narración da un vuelco para bien. Y digo para bien porque la joven, objetivo 3/19 ahora de los malhechores, se salva de su vil atentado gracias al amor que nace entre ella y su protector. Y contando con ello, ya todo se convierte en dar rienda suelta- pero con orden- a este interesante cine negro en el que se van alternando paulatinamente acciones abundantes, una intriga que mantiene atento a los espectadores- algo fundamental en la narración cinematográfica-, y en tercer lugar el nacimiento del romance amoroso que, al fin y al cabo, es quien da cierto tono de humanidad al film. Es fácil, por otra parte, adentrarse en el trasfondo de la historia. Y en ella podemos contemplar cosas del mundo actual referentes al terrorismo, al mundo social de la inmigración y a todos aquellos que, formando pequeñas mafias, comercian con ellos y ellas de una forma poco humana. No cabe duda. Aunque sea debutante, se ha pensado bien lo que iba a contar y lo ha hecho con el lenguaje del cine, no de las ocurrencias que le vengan en ganas al realizador. Buen comienzo. * ¿Qué opinas sobre el tema? Comparte tu opinión. * Si te gustó el texto y quieres comentarlo con su autor da un click aquí Toque de rosas * Autor de la reseña: P. Felipe Santos SDB Dirección: Ian Iqbal Rashid. Guión: El mismo. Fotografía: David A. Makin. Música: Andrew Lockington. Intérpretes: Brian George, Lisa Repo-Martell, Jimi Mistry, Kyle McLachtan, Kristen Holden-Reid, Veena Sood, Raoul Bhaneja, Sue Matthew Esta cinta graciosa, simpática y con buen humor en muchos momentos de su narración, no llega a las pretensiones de su realizador, que son nada menos, que hacer una comedia siguiendo los parámetros del estilo clásico de Hollywood, es decir, planteamiento del problema, solución y un final feliz. Desde luego que la historia no se prestaba para hacer muchas florituras ni siquiera poder llevar a cabo lo que la fantasía del realizador buscaba. Se trata de un joven, fotógrafo de cine que, llegado del Canadá, se instala en Londres. Se une a su novio. Y los dos viven felizmente hasta que la madre musulmana de Alim viene a visitarlo con la intención de buscarle novia, que se case y le dé nietos como su hermana. La narración se balancea entre dos alternativas: como comedia romántica indaga en el respeto que no debemos tener unos a otros seamos como seamos; y la otra alternativa es seguir las fantasías del intérprete principal que, sin duda, prefiere vivir en su nube antes que descender a la realidad. Es interesante la actitud y extrañeza de la madre cuando ve que su hijo es gay, y en la cultura musulmana, peor aún.
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    Bibliography Adler, Richard and Cater, Douglass, eds., Television as a Cultural Force (New York: Praeger, 1976) Altman, Rick, The American Film Musical (Bloomington: Indiana University Press, 1987) Altman, Rick, Film/Genre (London: BFI, 1999) Allen, Robert, ‘Bursting Bubbles: ‘Soap Opera’, Audiences, and the Limits of Genre’, in Remote Control: Television, Audiences and Cultural Power, eds. by Ellen Seiter, Hans Borchers, Gabriele Kreutzner, and Eva- Maria Warth (London and New York: Routledge, 1989), pp. 44-54. Allen, Robert, Channels of Discourse, Resembled: Television and Contemporary Criticism (London and New York: Routledge, 1992) Baidu, ‘Sanguo yanyi’ (Three Kingdoms) <http://baike.baidu.com/view/2372.htm> (in Chinese) [accessed 01July 2010] Bai, Ruoyun, Anticorruption Television Dramas: Between Propaganda and Popular Culture in Globalizing China (Ann Arbor, Michigan: ProQuest, 2007) Bai, Ruoyun and Song, Geng, eds, Chinese Television in the Twenty-First Century: Entertaining the Nation (Oxon: Routledge, 2015) Barmé, Geremie R, In the Red: On Contemporary Chinese Culture (New York: Columbia University Press, 1999) BBC, China Blasts Bush Policy <http://news.bbc.co.uk/1/hi/world/americas/1309441.stm> [accessed 02 January 2011] BBC, Chinese Press Slams US 'Arrogance' <http://news.bbc.co.uk/1/hi/world/monitoring/media_reports/1257908.stm> [accessed 02 January 2011] BBC, Beijing Bans Taiwanese Drama <http://news.bbc.co.uk/1/hi/entertainment/tv_and_radio/1868693.stm> [accessed 02 January 2011] Bentley, Jerry, Old World Encounters: Cross-Cultural Contacts and Exchanges in Pre-Modern Times (New York: Oxford University Press, 1993) Bens, E., Kelly, M. and Bakke, M. “Television Content: Dallasification of Cuture?” in Dynamics of Media Politics, eds., K.
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