Pub Date : 2019-12-31DOI: 10.14198/qdcine.2019.14.02
Ana María Draghia
espanolFresa y chocolate (1993) presenta la realidad socio-politica de Cuba en los anos 70. A traves de la pelicula pretendemos recoger aquellas muestras de represion cultural, religiosa, politica e incluso sexual. La simbologia del largometraje apoya las diferentes formas de busqueda de la libertad que los protagonistas de la pelicula buscan para escapar de la opresion, pero tambien sirven para construir la sociedad del momento. Asi, analizaremos diferentes secuencias y simbolos del film para intentar reconstruir el contexto politico y artistico de la epoca. EnglishFresa y chocolate presents the social and political reality of Cuba in the 70s. Throughout the film, we aim to identify those clues of cultural, religious, politic and even sexual repression. The symbology of the film sustains the different forms of seeking the freedom that the protagonists of the movie pursue in order to escape from the oppression, but it also helps to build the society of that moment. Thus, we analyze different sequences and symbols of the film to try to rebuild the political and artistic context of the time.
《espanolFresa y chocolate》(1993)描述了70年代古巴的社会政治现实。通过电影，我们打算收集文化、宗教、政治甚至性压抑的样本。这部电影的象征意义支持了电影主角为了逃离压迫而寻求自由的不同方式，但也有助于构建当下的社会。因此，我们将分析电影的不同序列和符号，试图重建那个时代的政治和艺术背景。fresa y chocolate展示了70年代古巴的社会和政治现实。在整部电影中，我们试图找出文化、宗教、政治甚至性压抑的线索。不同forms of The symbology of The sustains电影The seeking The freedom that The protagonists of The电影频谱in order to from The ramola bhar逃脱,但它还helps to build The society of that巴拉克。因此，我们分析了电影的不同序列和符号，试图重建当时的政治和艺术背景。
{"title":"La sociedad cubana a finales de los 70: producción artística e ideología revolucionaria en Fresa y Chocolate (1993)","authors":"Ana María Draghia","doi":"10.14198/qdcine.2019.14.02","DOIUrl":"https://doi.org/10.14198/qdcine.2019.14.02","url":null,"abstract":"espanolFresa y chocolate (1993) presenta la realidad socio-politica de Cuba en los anos 70. A traves de la pelicula pretendemos recoger aquellas muestras de represion cultural, religiosa, politica e incluso sexual. La simbologia del largometraje apoya las diferentes formas de busqueda de la libertad que los protagonistas de la pelicula buscan para escapar de la opresion, pero tambien sirven para construir la sociedad del momento. Asi, analizaremos diferentes secuencias y simbolos del film para intentar reconstruir el contexto politico y artistico de la epoca. EnglishFresa y chocolate presents the social and political reality of Cuba in the 70s. Throughout the film, we aim to identify those clues of cultural, religious, politic and even sexual repression. The symbology of the film sustains the different forms of seeking the freedom that the protagonists of the movie pursue in order to escape from the oppression, but it also helps to build the society of that moment. Thus, we analyze different sequences and symbols of the film to try to rebuild the political and artistic context of the time.","PeriodicalId":407408,"journal":{"name":"Quaderns de Cine","volume":"29 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126110737","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-12-31DOI: 10.14198/qdcine.2019.14.03
Núria Lorente
In 2010 it premieres in Spain "Also the Rain", a film by Iciar Bollain about the circumstances that go through the filming of a film about the discovery of America. The recording stage, Cochabamba year 2000, and its actors, Spaniards and Bolivians will be involved, as the filming of the film develops, in a dangerous game of similarities between what they live and what they film.
{"title":"Retóricas y estéticas del Descubrimiento de América en También la lluvia (2010), de Iciar Bollaín","authors":"Núria Lorente","doi":"10.14198/qdcine.2019.14.03","DOIUrl":"https://doi.org/10.14198/qdcine.2019.14.03","url":null,"abstract":"In 2010 it premieres in Spain \"Also the Rain\", a film by Iciar Bollain about the circumstances that go through the filming of a film about the discovery of America. The recording stage, Cochabamba year 2000, and its actors, Spaniards and Bolivians will be involved, as the filming of the film develops, in a dangerous game of similarities between what they live and what they film.","PeriodicalId":407408,"journal":{"name":"Quaderns de Cine","volume":"2 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132652714","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-12-31DOI: 10.14198/qdcine.2019.14.07
Nieves Ruiz
espanolEl objetivo de este trabajo sera analizar la pelicula iAtraco! (Eduard Cortes, 2012) como si se tratara de un texto filmico con el fin de obtener unas conclusiones propias desde la fuente original y asi alcanzar una idea aproximada de los motivos por los cuales la recepcion espanola del film no supo valorar una apuesta de tal calibre en el panorama transnacional. A pesar de contar con un gran reparto y con una direccion ejemplar, la pelicula no ha conseguido la repercusion mediatica que se esperaba. En Espana quedo fuera del Festival de San Sebastian y las criticas no fueron muy amables. Sin embargo, el fracaso espanol contrasta con el exito alcanzado en Argentina. La trama del film toma el punto de partida de unos hechos reales (un atraco en el Madrid de 1956) y construye toda una ficcion a partir de rumores y verdades no oficiales del estado espanol franquista que entra en contacto con el peronismo argentino, donde lo que verdaderamente esta en juego no son los datos historicos, sino las tensiones de las relaciones de poder y los limites de la lealtad y el patriotismo EnglishThe aim of this work will be to analyze the movie iAtraco! (Eduard Cortes, 2012) as if it were a filmic text in order to obtain own conclusions from the original source and thus reach an approximate idea of the reasons why the Spanish reception of the film did not know how to value a bet of such caliber in the transnational panorama. Despite having a great cast and an exemplary direction, the film has not achieved the media transcendentalism that was expected. In Spain it was left out of the San Sebastian Festival and the criticisms were not very kind. However, the Spanish failure contrasts with the success cultivated in Argentina. The plot of the film takes the starting point of some real events (a robbery in the Madrid of 1956) and builds a whole fiction from unofficial rumors and truths of the Francoist Spanish state that comes into contact with Argentine Peronism, where what is really at stake is not the historical data, but the tensions of power relations and the limits of loyalty and patriotism
这项工作的目的是分析电影《iAtraco!》(Eduard法院(2012),就像一个部电影以获得结论自己从最初的来源就是实现一个猜原因前台西班牙语的电影不知道珍惜这样的赌注跨国口径在背景。尽管演员阵容庞大，导演堪称典范，但这部电影并没有达到预期的媒体反响。在西班牙，我被排除在圣塞巴斯蒂安节之外，评论家们也不太友好。然而，西班牙的失败与阿根廷的成功形成了鲜明对比。电影情节在起点的一些事实(抢劫案在1956年马德里)和构建起一个完整的ficcion谣言和官方不是西班牙佛朗哥的道理进入与阿根廷会推出,无论他是在玩显然不是数据historicos,而是权力关系紧张和限制忠诚和爱国精神EnglishThe aim of this work will be to analyze the电影iAtraco !(Eduard法院(2012)亦如it是一个自己filmic text in order to obtain from the original source and的结论因此reach an approximate主意of the reasons why the [reception of the value电影没有not know how to a bet of诸如caliber in the跨国全景。尽管演员阵容出色，导演也很出色，但这部电影并没有达到人们所期待的媒体超越主义。在西班牙，它是圣塞巴斯蒂安节的一部分，批评不是很好。然而，西班牙的失败与阿根廷的成功形成了对比。The plot of The电影takes The starting point of some real events无力in马德里》(1956)和builds整个小说from unofficial rumors and获取of The Francoist[指出阿根廷Peronism吃into contact with what is真正at stake, where is not The历史数据,but The power and The关系界限的地方》《loyalty patriotism
{"title":"La realidad ficcionalizada de ¡Atraco! (2012): la apuesta transnacional de Eduard Cortés","authors":"Nieves Ruiz","doi":"10.14198/qdcine.2019.14.07","DOIUrl":"https://doi.org/10.14198/qdcine.2019.14.07","url":null,"abstract":"espanolEl objetivo de este trabajo sera analizar la pelicula iAtraco! (Eduard Cortes, 2012) como si se tratara de un texto filmico con el fin de obtener unas conclusiones propias desde la fuente original y asi alcanzar una idea aproximada de los motivos por los cuales la recepcion espanola del film no supo valorar una apuesta de tal calibre en el panorama transnacional. A pesar de contar con un gran reparto y con una direccion ejemplar, la pelicula no ha conseguido la repercusion mediatica que se esperaba. En Espana quedo fuera del Festival de San Sebastian y las criticas no fueron muy amables. Sin embargo, el fracaso espanol contrasta con el exito alcanzado en Argentina. La trama del film toma el punto de partida de unos hechos reales (un atraco en el Madrid de 1956) y construye toda una ficcion a partir de rumores y verdades no oficiales del estado espanol franquista que entra en contacto con el peronismo argentino, donde lo que verdaderamente esta en juego no son los datos historicos, sino las tensiones de las relaciones de poder y los limites de la lealtad y el patriotismo EnglishThe aim of this work will be to analyze the movie iAtraco! (Eduard Cortes, 2012) as if it were a filmic text in order to obtain own conclusions from the original source and thus reach an approximate idea of the reasons why the Spanish reception of the film did not know how to value a bet of such caliber in the transnational panorama. Despite having a great cast and an exemplary direction, the film has not achieved the media transcendentalism that was expected. In Spain it was left out of the San Sebastian Festival and the criticisms were not very kind. However, the Spanish failure contrasts with the success cultivated in Argentina. The plot of the film takes the starting point of some real events (a robbery in the Madrid of 1956) and builds a whole fiction from unofficial rumors and truths of the Francoist Spanish state that comes into contact with Argentine Peronism, where what is really at stake is not the historical data, but the tensions of power relations and the limits of loyalty and patriotism","PeriodicalId":407408,"journal":{"name":"Quaderns de Cine","volume":"10 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132270346","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 1900-01-01DOI: 10.14198/qdcine.2019.14.06
Nereida Ródenas Lopera
Ricardo Darin (1957) is one of the Argentinean interpreters with the greatest international impact because of his wide and varied acting career. He debuted on the small screen in 1968 and, since then, has participated in more than a dozen theatrical performances, including Art; as well as in more than thirty series. We can also find it in more than forty films, among which El secreto de sus ojos, El hijo de la novia, Tesis sobre un homicidio and Relatos salvajes, among others. Although it is true that he participates mainly in Argentine films, he has also starred in numerous Spanish-Argentinean co-productions, as well as exclusively Spanish ones. The aim of this article is to take a tour of the actor's Spanish-Argentinean filmography, as well as to make a synopsis of the feature film and the awards that the Buenosairean received for his acting work.
{"title":"Un recorrido por la filmografía hispano-argentina de Ricardo Darín","authors":"Nereida Ródenas Lopera","doi":"10.14198/qdcine.2019.14.06","DOIUrl":"https://doi.org/10.14198/qdcine.2019.14.06","url":null,"abstract":"Ricardo Darin (1957) is one of the Argentinean interpreters with the greatest international impact because of his wide and varied acting career. He debuted on the small screen in 1968 and, since then, has participated in more than a dozen theatrical performances, including Art; as well as in more than thirty series. We can also find it in more than forty films, among which El secreto de sus ojos, El hijo de la novia, Tesis sobre un homicidio and Relatos salvajes, among others. Although it is true that he participates mainly in Argentine films, he has also starred in numerous Spanish-Argentinean co-productions, as well as exclusively Spanish ones. The aim of this article is to take a tour of the actor's Spanish-Argentinean filmography, as well as to make a synopsis of the feature film and the awards that the Buenosairean received for his acting work.","PeriodicalId":407408,"journal":{"name":"Quaderns de Cine","volume":"20 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115486111","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 1900-01-01DOI: 10.14198/qdcine.2020.16.01
J. A. Ríos Carratalá
{"title":"Introducción","authors":"J. A. Ríos Carratalá","doi":"10.14198/qdcine.2020.16.01","DOIUrl":"https://doi.org/10.14198/qdcine.2020.16.01","url":null,"abstract":"","PeriodicalId":407408,"journal":{"name":"Quaderns de Cine","volume":"155 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132042730","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 1900-01-01DOI: 10.14198/qdcine.2020.15.01
Francisco Javier Ortiz Hernández
{"title":"Presentación","authors":"Francisco Javier Ortiz Hernández","doi":"10.14198/qdcine.2020.15.01","DOIUrl":"https://doi.org/10.14198/qdcine.2020.15.01","url":null,"abstract":"","PeriodicalId":407408,"journal":{"name":"Quaderns de Cine","volume":"30 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114494500","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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