Quaderns de CinePub Date : 2019-12-31DOI: 10.14198/qdcine.2019.14.02
Ana María Draghia
{"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}
Quaderns de CinePub Date : 2019-12-31DOI: 10.14198/qdcine.2019.14.03
Núria Lorente
{"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}
Quaderns de CinePub Date : 2019-12-31DOI: 10.14198/qdcine.2019.14.07
Nieves Ruiz
{"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}
Quaderns de CinePub Date : 1900-01-01DOI: 10.14198/qdcine.2019.14.06
Nereida Ródenas Lopera
{"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}
Quaderns de CinePub 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}
Quaderns de CinePub 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}