Nicolas Poppe – författare
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6 produkter
6 produkter
Inbunden, Engelska, 2017
1 048 kr
Skickas inom 5-8 vardagar
Cosmopolitan Film Cultures in Latin America examines how cinema forged cultural connections between Latin American publics and film-exporting nations in the first half of the twentieth century. Predating today's transnational media industries by several decades, these connections were defined by active economic and cultural exchanges, as well as longstanding inequalities in political power and cultural capital. The essays explore the arrival and expansion of cinema throughout the region, from the first screenings of the Lumière Cinématographe in 1896 to the emergence of new forms of cinephilia and cult spectatorship in the 1940s and beyond. Examining these transnational exchanges through the lens of the cosmopolitan, which emphasizes the ethical and political dimensions of cultural consumption, illuminates the role played by moving images in negotiating between the local, national, and global, and between the popular and the elite in twentieth-century Latin America. In addition, primary historical documents provide vivid accounts of Latin American film critics, movie audiences, and film industry workers' experiences with moving images produced elsewhere, encounters that were deeply rooted in the local context, yet also opened out onto global horizons.
Häftad, Engelska, 2017
456 kr
Skickas inom 5-8 vardagar
Cosmopolitan Film Cultures in Latin America examines how cinema forged cultural connections between Latin American publics and film-exporting nations in the first half of the twentieth century. Predating today's transnational media industries by several decades, these connections were defined by active economic and cultural exchanges, as well as longstanding inequalities in political power and cultural capital. The essays explore the arrival and expansion of cinema throughout the region, from the first screenings of the Lumière Cinématographe in 1896 to the emergence of new forms of cinephilia and cult spectatorship in the 1940s and beyond. Examining these transnational exchanges through the lens of the cosmopolitan, which emphasizes the ethical and political dimensions of cultural consumption, illuminates the role played by moving images in negotiating between the local, national, and global, and between the popular and the elite in twentieth-century Latin America. In addition, primary historical documents provide vivid accounts of Latin American film critics, movie audiences, and film industry workers' experiences with moving images produced elsewhere, encounters that were deeply rooted in the local context, yet also opened out onto global horizons.
Inbunden, Engelska, 2021
1 242 kr
Skickas inom 5-8 vardagar
Uses extensive archival research to explore the manifold contributions of foreign film workers to emerging film industries in Latin America from the 1930s to early 1940s.Alton's Paradox builds upon extensive archival and primary research, but uses a single text as its point of departure-a 1934 article by the Hungarian American cinematographer John Alton in the Hollywood-published International Photographer. Writing from Argentina, Alton paradoxically argues of cine nacional, "The possibilities are enormous, but not until foreign technicians will take the matter in their hands and with foreign organization will there be local industry." Nicolas Poppe argues that Alton succinctly articulates a line of thought commonly held across Latin America during the early sound period but little explored by scholars: that foreign labor was pivotal to the rise of national film industries. In tracking this paradox from Hollywood to Mexico to Argentina and beyond, Poppe reconsiders a series of notions inextricably tied to traditional film historiography, including authorship, (dis)continuation, intermediality, labor, National Cinema, and transnationalism. Wide-angled views of national film industries complement close-up analyses of the work of José Mojica, Alex Phillips, Juan Orol, Ángel Mentasti, and Tito Davison.
Häftad, Engelska, 2022
379 kr
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Uses extensive archival research to explore the manifold contributions of foreign film workers to emerging film industries in Latin America from the 1930s to early 1940s.Alton's Paradox builds upon extensive archival and primary research, but uses a single text as its point of departure-a 1934 article by the Hungarian American cinematographer John Alton in the Hollywood-published International Photographer. Writing from Argentina, Alton paradoxically argues of cine nacional, "The possibilities are enormous, but not until foreign technicians will take the matter in their hands and with foreign organization will there be local industry." Nicolas Poppe argues that Alton succinctly articulates a line of thought commonly held across Latin America during the early sound period but little explored by scholars: that foreign labor was pivotal to the rise of national film industries. In tracking this paradox from Hollywood to Mexico to Argentina and beyond, Poppe reconsiders a series of notions inextricably tied to traditional film historiography, including authorship, (dis)continuation, intermediality, labor, National Cinema, and transnationalism. Wide-angled views of national film industries complement close-up analyses of the work of José Mojica, Alex Phillips, Juan Orol, Ángel Mentasti, and Tito Davison.
363 kr
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E-bok
PDF, Spanska, 2026167 kr
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Salas, negocios y publicos de cine en Latinoamerica, 1896-1960 nos brinda claves para aventurarnos a una mirada mas compleja de las sociedades del siglo XX, cuando el cine se constituia en una experiencia cultural que ocupaba el centro de la escena; y lo hace considerando la necesidad de situar espacial y temporalmente nuestras tradiciones academicas sobre el tema para no reproducir viejas, y no tan viejas, practicas de dependencia intelectual que obliteran los aportes teoricos y artisticos latinoamericanos. A partir de la ultima decada del siglo XX se acentuaron en Latinoamerica las lineas de investigacion que iluminaron no solo la resignificacion de los textos filmicos, sino tambien las historias de las salas mas importantes, los negocios de diferentes sectores de la industria cinematografica (produccion, distribucion y exhibicion) y las practicas diversas de diferentes publicos de cine. En ese sentido, este libro reune estudios de destacados investigadores que escriben sobre las experiencias que afectaron a los publicos de la region. Los autores de los capitulos revelan datos y memorias que nos llevan a reflexionar sobre que era el cine para los publicos en la primera mitad del siglo XX, mas alla de las peliculas. Cuales eran los modos ver? Como se forjaron las negociaciones entre los empresarios de la comercializacion y los publicos? Que identidades culturales se jugaban en esas largas tardes de disfrute ante las pantallas? Que lazos de sociabilidad progresaban alli? Clara Kriger es Doctora en Historia y Teoria de las Artes por la Universidad de Buenos Aires, donde se desempena como docente y coordinadora del Area Cine y Audiovisuales del Instituto de Artes del Espectaculo. En la actualidad dirige una investigacion sobre historia de los publicos de cine en Buenos Aires entre 1933 y1955. Es autora de Cine y Peronismo: El estado en Escena (2009), y Cine y propaganda. Del orden conservado al peronismo (2022), compiladora de libros, entre los ultimos, Nueva cartografia de la produccion audiovisual argentina (2019), e Imagenes y publicos del cine argentino clasico (2018). Nicolas Poppe es profesor asociado de Estudios Luso-Hispanicos en el Middlebury College. Es coeditor de las antologias Cosmopolitan Film Cultures in Latin America, 1896-1960 (2017) y En la cartelera. Cine y culturas cinematograficas en America Latina, 1896-2020 (2022). Basado en extensas investigaciones de archivo, su libro Alton's Paradox: Foreign Film Workers and the Emergence of Industrial Cinema in Latin America (2021) explora las multiples contribuciones de trabajadores extranjeros a las emergentes industrias cinematograficas en America Latina desde la decada de 1930 hasta principios de la de 1940 en terminos panoramicos y en analisis detallados del trabajo de Jose Mojica en Hollywood, Alex Phillips y Juan Orol en Mexico, y Angel Mentasti y Tito Davison en la Argentina.